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COPYRIGHT DEPOSHi 



THE 
SCHOOL PRINTSHOP 



THE SCHOOL 
PRINTSHOP 



By 

KATHARINE M. STILWELL 

Teacher of Printing, University Elementary School 
University of Chicago 



RAND McNALLY & COMPANY 

CHICAGO NEW YORK 



Copyright, 1919, by 
Rand McNally & Company 



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• ©CU515133 

APR -3 1919 



THE CONTENTS 



PAGE 



The Preface vii 

The Introduction. By Charles H. Judd .... xi 



CHAPTER 

I. A Description of Type 1 

II. Learning the Case 12 

III. Spacing 22 

IV. Directions for Composition 33 

V. Proofreading 43 

VI. Locking Up 45 

VII. Imposition 51 

VIII. The Press 59 

IX. The Distribution of Type 67 

X. Measuring 70 

XI. English 73 

A. Punctuation 73 

B. Division of Words 83 

C. Spelling . 85 

D. Capital Letters 87 

E. Capitals and Small Capitals 90 

F. Italics .' . 90 

XII. Art in Printing 92 

XIII. How to Make Illustrations 108 

XIV. Paper 117 

XV. Suggestions to Young Printers .... 125 

v 



vi THE CONTENTS 

PAGE 

Appendix por Teachers 131 

A. The Value of Printing as an Educational 
Subject .'.'.' 133 

B. Selecting Equipment 139 

C. The Arrangement of Printing Rooms . . 153 

D. Outline of Course in Printing in the Elemen- 
tary and High Schools of the School of Edu- 
cation of the University of Chicago in 
1916-1917 155 

E. What to Print in the School Printshop . . 168 

F. Samples of Work Actually Done in School 
Printshops 175 

Glossary 213 

The Index 223 



THE PREFACE 

The School Printshop had its inception in the 
classroom. It is the outgrowth of teaching 
classes of elementary-school pupils, high-school 
pupils, after-school volunteer pupils among whom 
the work was more or less of a vocational nature, 
and college students who were fitting themselves 
to teach printing. It is designed primarily for 
these groups of students — a book to be owned 
by the pupil and to be used by him as a shop 
manual. There is need for a book to supplement 
the oral instruction, one to which the pupil, can 
refer as questions arise and problems confront 
him. It is not expected that this book will take 
the place of the teacher, although a pupil can make 
progress with no other than printed instruction. 

Not everything pertaining to the broad subject 
of printing, nor indeed to any one branch of it, 
can or should be taught outside of a commercial 
printshop or a highly specialized school of print- 
ing. It is necessary then to select the printshop 
material that is suitable for teaching purposes in 
schools. In making such a selection for this 
manual I have included only topics essential to a 
proper understanding by the pupil and basic to 
the subject of printing. I have attempted to 
give in simple form, with no confusing details, 
directions for setting type and printing, so that 
the pupil can successfully and safely carry on all' 
the operations involved in a manner consistent 



Vlll THE PREFACE 

with the best traditions of the craft. By direct- 
ing the pupil's attention to the history of printing, 
to its art possibilities, to the interesting relations 
that exist between printing and its allied indus- 
tries, I have aimed to broaden the student's outlook 
and to place printing where I believe it belongs 
as a cultural study in the school curriculum. 

No attempt has been made to present a series 
of lessons in regular order. Rather the matter 
and method of the book are to be regarded as 
suggestive, as material which each teacher can 
adapt to his own working conditions. In a 
general way the order of the chapters follows the 
logical development of the subject, but always 
the time and manner of teaching any part of it 
are conditioned by the pupils. 

The pupil should be so trained in the use of 
the book that he can readily find any needed 
information or instruction. The printing pro- 
cesses are so interrelated that no one of them can 
be fully explained without a reference to some 
other. Hence no one chapter contains all the 
information about the topic it deals with, nor 
can the pupil fully understand or remember it 
all without the additional experience he must 
gain through the work described in other chapters. 
Thus he must refer time and again to the different 
chapters. Some chapters are to be used only for 
purposes of reference. The pupil will read such 
chapters, the teacher illustrating and amplifying 
wherever the pupil requires it. Since it is desir- 
able to get the pupil to work as quickly as pos- 
sible, chapter ii is suggested as the point of 
departure. Because from the start both hand 
and brain are employed, the pupil is interested 



THE PREFACE IX 

throughout the usually stupid preliminary process 
of learning the case. Definitions bore the child 
if an attempt is made to teach them before he 
feels the need of them. For that reason in this 
book terms needing defining have been placed in a 
glossary. 

The Appendix has been prepared with the 
intent of aiding both the trained printer who has 
been called upon to teach before he has solved the 
problems of pedagogy and the trained teacher 
who is attempting to teach a new, untried subject. 
Perhaps no question is more frequently asked 
than, "What comprises a suitable equipment for 
a school and what is its cost?" The announce- 
ments sent out by dealers in printshop supplies 
are often misleading, ranging from "a school 
printing outfit for $195" to "an equipment that 
can be purchased for $1,000." These indicate 
to the inexperienced teacher only a money differ- 
ence. The list of required articles in the Appen- 
dix should help to make clear such notices, as it 
states the quantity required in terms of the num- 
ber of pupils, a definite quantity for each pupil or 
for each group of ten pupils. 

The course of study for the Elementary and 
High Schools of the School of Education of the 
University of Chicago has for two years been 
used in its present form. A good course of study is 
a growing one; this one is offered as a working 
hypothesis. Experience and study will enable the 
thoughtful teacher to suggest many changes and 
improvements. 

It is a pleasure to acknowledge indebtedness to 
many friends and colleagues for encouragement 
and help. Thanks are due to Mr. F. K. Phillips 



X THE PREFACE 

of the Educational Department of the American 
Type Founders Company for reading the manu- 
script; to Mr. Walter Sargent of the School of 
Education, the University of Chicago, to Miss 
Rachel Whittier of the Boston Normal Art School, 
and to Miss Louise Clark of Boston, Massachu- 
setts, for practical art suggestions; to the late 
Mr. William M. Shirley of the Shirley Press, 
who in early days gave generous assistance 
when assistance was most needed; to the various 
manufacturing firms for pictures and printshop 
machinery. 

I take this opportunity to express an appre- 
ciation of the attitude of the master printers 
toward school printing. Their generous recogni- 
tion and friendly spirit go far toward connecting 
the work of the school with that of the trade and 
make easy the passage from one to the other. 

Katharine M. Stilwell 



THE INTRODUCTION 

Among the manual arts there is none which is 
more appropriate to the elementary school than 
printing. The pupil is introduced in the first 
grade to books, and all through his school life he 
is what the economists call a ' ' consumer ' ' of print- 
ing. He is influenced, without knowing the reasons 
why, by the artistic arrangement of the pages of 
his books and by the perfection of presswork and 
binding. He reads easily when the printing is 
well done. 

As he uses books his curiosity is sure to be 
aroused about the way in which they are made. 
This curiosity will be increased by references in 
his school work to the great changes which came 
in civilization with the invention of printing. 
To deprive the pupil of information about the 
making of books would be to cut him off from 
one of the most interesting lessons which the 
school can teach. 

Adequate knowledge about printing cannot be 
drawn from mere description. It follows, there- 
fore, as an easy deduction from what has been 
said, that the pupil should be allowed to become 
in a small way a producer of printing in order 
that he may be an intelligent and satisfied con- 
sumer. 

There are many incidental advantages. As 
the pupil tries to set up an artistic form he will 
learn the distinction between well-arranged print- 
ing and careless work. As he studies different 



xu THE INTRODUCTION 

kinds of types he/Will discover the reasons for many 
of the variations which he has seen but has 
not noticed. He will also find that he needs to 
master the mechanics of spelling and punctuation. 
These lessons are worth learning, and they will 
be much more vividly apprehended by a producer 
than by a mere consumer. 

The equipment of a printshop has certain advan- 
tages over other equipments for manual work. It 
can be used by many pupils many times over. 
It puts out a product which is intrinsically 
useful. 

Above all, the pupils are very enthusiastic about 
this kind of work. They need no artificial stimu- 
lus to insure eager attention. The work is itself 
exacting, and its relation to all the other activities 
of the school prevents distraction. 

Evidently the problem of teaching printing is 
no narrow problem nor one relating merely to 
preparation for a trade. It is a virtue of such a 
text as this that it conceives the problem of the 
school printshop in terms broader than the trade 
and yet detailed enough to satisfy even the 
technical printer. 

The use of this material in the University Ele- 
mentary School has been an unqualified success. 
That the author of the text has put her experience 
and her skill at the service of a larger group of 
teachers and pupils is a matter of satisfaction to 
all her colleagues. 

Charles H. Judd 






Printing is preeminently the art of democracy. 
— Henry Turner Bailey 




A class at work 



THE SCHOOL PRINTSHOP 

CHAPTER I 

A DESCRIPTION OF TYPE 

Type consists of small pieces of metal with a 
letter or character cast in relief on one end, which 
is called the face. This name is sometimes con- 
fusing to beginners because, in printing, the word 
"face" is also used to distinguish one style of type 
from another. 

The end of the metal opposite the face, is usually 
grooved by the machine in casting. This makes 
two projections called the feet. The term is 
applied to the end opposite the face even when 
the groove is omitted. (Fig. 1 shows parts of type.) 

Body is that part of the type between the face 
and the feet. It is sometimes called the shank. 
Body also means sizes or depths of type. 

On the front of the body near the feet are one 
or more shallow grooves called nicks, which are 
to guide the compositor. Were there no nicks, 
he would have to examine the face of each piece 
of type before setting it in the stick to make sure 
that letters were right side up. In some cases 
certain letters have an additional nick to dis- 
tinguish them from others in the same case for 

l 



2 THE SCHOOL PRINTSHOP 

which they might be mistaken. For example, 
in the 12-point Lining Caslon No. 540 the small 
capitals o, s, v, w, x, and z have three nicks to 
distinguish them from the same letters lower case, 
which have the ordinary two nicks of the font. 
The nicks also serve to prevent the mixing of 
different faces of the same body, as the type 
founders vary the number and position of nicks 
in the different faces. 

As there must be space between the letters of a 
printed word, a slight margin is left about the 
letter on the metal. The margin between the 
bottom of a letter and the outer edge of the body 
is usually called the shoulder. The slope between 
the face and the upper surface of the body is called 
the beard or neck. 

The different parts of the surface of the letter 
are named. The stem, or body-mark, is the thick 
line of the face of the letter. Printers call it 
the thick-stroke. The fine, cross line put in as 
a finish to unconnected lines is called a serif. 
The fine hair line connects the stem or body- 
marks. Some letters, for example, / and /, some- 
times project over the side of the body. This 
projection is called a kern, and such letters are 
spoken of as kerned letters. The depression 
between the lines of a face is called the counter. 
The pin-mark is a small circle indented in the 
side of the body near the face. It is made by a 



A DESCRIPTION OF TYPE 



Fc 



ace 



M 



He i (j fit 
0.918" 




Fig. 1. Showing the various parts of a piece of type 



1. Neck or beard 

2. Hair line 

3. Pin-mark 

4. Nick 

5. Serif 



6. Counter 

7. Shoulder 

8. Stem 

9. Groove 
10. Feet 



4 THE SCHOOL PRINTSHOP 

pin in the mold during casting and is used for 
the purpose of designating the foundry at which 
it was cast. 

The standard height of type in this country is 
0.918 inch. Type of this measurement from face 
to feet is type-high. Type cast higher or lower 
is high-to-paper or low-to-paper. 

Type is uniform in height, but varies in depth 
and width. The body measurement of a piece 
of type is the depth of the end of the metal on 
which the type face appears. It includes not 




Fig. 2. Method of measuring a piece of type on a pica rule 

only that part of the type which makes the 
impression, but also the open spaces at the top 
and bottom of the letter (Fig. 2). 

The width of the letters in a font varies from the 
wide m to the narrow i. The fonts themselves 



A DESCRIPTION OF TYPE 5 

vary from "expanded," which magnifies the width, 
to "condensed," which minimizes it. The posi- 
tion of the letter on the body of the type also affects 
its width. Only full-bodied letters occupy the 
entire body of the type. The ascending letters 
occupy the upper three-fourths of the body, the 
descending letters the lower three-fourths, while 
short letters like a and e occupy about one-half 
of the body and are set in the middle part. Each 
letter needs space about it to make it legible, and 
this surrounding space should be uniform. If 
this space is small, the letters are near together 
and the type is consequently said to be close- 
fitted; on the other hand, if the space is wide, 
the type is wide-fitted. 

Formerly body size of type was designated by 
name. At that time there was not a uniform 
standard of type sizes, and type cast by one 
foundry was not always of the exact size of type 
bearing the same name but cast by another 
foundry. This disparity made difficult the using 
together of type cast by different foundries. To 
obviate this, the type founders of America adopted 
what is known as the American Point System of 
measuring type. They selected as the standard 
the pica, about one-sixth of an inch, or, to be 
exact, 0.1666044 inch, in length. They divided 
this into twelve equal parts called points. All 
bodies of type are now made on multiples of 



b THE SCHOOL PRINTSHOP 

this point and are called by numerical names: 
6-point, 8-point, 10-point, 12-point, and so on. 
One-point is exactly 0.013837 inch, or, for practi- 
cal purposes, Vii of an inch (Fig. 3). Type of 72 
points, then, is about one inch in depth. 

1 pica = 0.1666044 inch 1 point = 0.013837 inch 



Fig. 3. Showing increase in thickness, by points, from 
one to twelve 

Type from 3-point to 84-point, and sometimes 
as large as 144-point, is cast in metal, but large 
sizes are commonly made of wood. Wood type 
is lighter and cheaper than metal type and is 
used for printing bills for posting, where large 
sizes are required. This kind of type is made of 
maple, box, pear, or other close-grained woods. 

The following table gives the sizes of type with 
their numerical names and their former names : 

Numerical Name Former Name 

60-point Five-line pica 

48-point Canon, or four-line pica 

44-point Meridian 

40-point Double paragon 

36-point Double great primer 

32-point Four-line brevier 

30-point Five-line nonpareil 

28-point Double English 

24-point Double pica 



A DESCRIPTION OF TYPE 7 

Numerical Name Former Name 

20-point Paragon 

18-point Great primer 

16-point Columbian 

14-point English 

12-point Pica 

11-point Small pica 

10-point Long primer 

9-point Bourgeois 

8-point Brevier 

7-point Minion 

6-point Nonpareil 

53^-point Agate 

5-point Pearl 

43^-point Diamond 

4-point \ Brilliant 

3-point Excelsior 

An assortment of one kind and size of type used 
together is called a font. The font is based upon 
an estimate of the number required of each letter 
in the language and is sold entirely by weight or 
in job fonts. An ordinary font of roman type 
contains the capitals, the small capitals, and the 
lower-case letters. Included in these are the usual 
ligatures (M, (E, as, ce, ffl, ffi, ff, n, fi), punctuation 
marks, figures, dashes, braces, reference marks, 
and spaces. Every roman face has its corre- 
sponding italic (capitals and lower case). This 
makes five series in every complete font, thus 
enabling the printer to do many kinds of work 
with one size and style of type. 



8 THE SCHOOL PRINTSHOP 

The bodies of type are described by numbers 
but the style of the face is designated by name. 
Unless otherwise stated, roman face is always 
understood. For example, 18-point Cheltenham 
means: body-size, 18-point; face, roman; style, 
Cheltenham. 

The specimen books of the great type foundries 
contain many styles of type faces grouped into 
families. Type faces are constantly improving, 
and printers now are using fewer styles, but of 
better design, than was the case a few years ago. 

The most common groups of type faces used in 
this country are roman, italic, text, and gothic. 

This line is set in roman type. 

This line is set in italic type. 

Qflfri* line is get m text, or blacMetter, tppe. 
This line is set in gothic type. 

The roman type is that style which was based 
on the old Roman manuscript. It was first used 
by Sweynheim and Pannartz at Subiaco, Italy. 
It has served as a model for the others. It is 
the simplest and best form of type for ordinary 
books and newspapers. Under the general name 
of roman may be grouped Caslon, Cheltenham, 
Century, Delia Robbia, Pabst, Goudy Old Style, 
and many others in common use. Not all forms 
of roman type are suitable for book printing. 



SPECIMENS OF TYPE SIZES 
CASLON 

FOURTEEN POINT 

THE SCHOOL PRINTSHOP 789 

EIGHTEEN POINT 

THE SCHOOL PRI 74123 

TWENTY-FOUR POINT 

THE SCHOOL 6597 



THIRTY POINT. 



THESCHO 091 



THIRTY-SIX POINT 



THESGH 26 



FORTY-TWO POINT 



THES 130 



FORTY-EIGHT POINT 



THE 1290 



10 THE SCHOOL PRINTSHOP 

Certain families through their use as such have 
come to be classed as ornamental job type. Such, 
for example, are the Delia Robbia and the Pabst. 

The italic is a slanting letter, also originating in 
Italy, used as a companion type to the roman 
letter. 

Text is modeled after the hand used in the 
manuscripts before the invention of printing. 
It derived the name of text from the fact that 
the early printers used it for the text or solid 
part of the page. Printers call it black-letter 
because it shows more black than white upon the 
printed page. Bibliographers speak of it as 
gothic simply because it has been favored by 
people of Gothic descent. In its early use the 
pointed letter was the formal and accepted style 
for books of devotion. It retains this use today. 
It appears in the type books under several families 
with slightly different characteristics. Some of the 
common names are Old English, Flemish, and 
Cloister Black. German type is a black-letter 
type. 

The style of type known as gothic is not Gothic 
at all. It also is an imitation of Roman writing. 
It is a black-letter type made of even strokes with 
no. serifs. 

In the selection of a type face legibility is the 
first consideration. To secure this, the type 
design must be simple in form, with a pure line 



A DESCRIPTION OF TYPE 11 

unhampered by useless and meaningless turns. 
It must combine well with other letters to form 
words. Each letter and figure should be distinct 
so that one cannot be mistaken for another. The 
line should be firm and bold; strong enough to 
have character; not so fine as to produce a weak 
tone on the printed page. Type with hair lines 
should be avoided; nor should type so condensed 
as to require over-much spacing be chosen. The 
type of today must be adapted for use in printing 
by a power press on soft paper. 



CHAPTER II 
LEARNING THE CASE 

Formerly in the printshop type was kept in 
what are called news cases — that is, a pair of 
cases, upper and lower, so designated from their 
position on the case stand, a light, wooden frame 
made to support them. The top of the stand is 
so arranged that it holds the two cases at different 
angles. This is for the purpose of enabling the 
compositor to see and reach all the type in each 
case. 

News cases are divided into compartments or 
boxes so that there is a box for each character in 
the font of type. The upper case contains on 
the right the capitals (called caps) and on the 
left the small capitals (called small caps). The 
remaining boxes contain the fractions, signs, 
diphthongs, and other characters used in printing. 
The upper case is divided into ninety-eight boxes 
of uniform size. In the lower case are the small 
letters, the digits, the ligatures, the punctuation 
marks, the spaces, and the quadrats, commonly 
called quads. The lower case consists of fifty- 
four rectangular compartments of unequal size. 

12 



LEARNING THE CASE 



13 



The larger boxes are designed to hold the letters 
most frequently used, while the smaller boxes 
contain those less frequently used and therefore 
fewer in number. 

The easiest way to learn the case is by paper 
folding. Fold a piece of paper eight by four into 
thirty-two squares. (See Fig. 4.) 



a 
b 







































































Fig. 4. First step in folding paper to learn the case 

Now fold the upper edge aa to meet the first 
crease bb, crease, and tear off, thus leaving the 
rectangle eight by three and one-half. With a 
pencil trace the lines as indicated in Fig. 5, on the 
opposite page. 

Next add the lines as shown in Fig. 6, and you 
have a drawing of the lower case. From Fig. 7, 
on page 15, you can readily learn the location of 
the small letters, the digits, the ligatures (fi, ff, ffi, 
fl), the punctuation marks, the spaces, and the 
quads. 



14 



THE SCHOOL PRINTSHOP 



Fig. 5. Second step in learning the case 

With ruler and cardboard draw Fig. 6 to any 
scale desired, and as you learn the case complete 
the diagram to the stage shown in Fig. 7, on 
page 15. 



Fig. 6. Diagram of the lower case 

Commercial shops are now discarding the open- 
case stands in favor of closed cabinets ; news cases 
are therefore falling into disuse. The case stand 
is made for men; the upper case is therefore too 



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LEARNING THE CASE 17 

high for schoolroom use. Instead of the news 
cases most school shops now use the California 
job case. Its size is that of the lower case, but 
one-third of the space is divided into thirty-five 
compartments for the capitals and sorts, while 
the remaining two-thirds has fifty-four smaller 
boxes which hold the letters and other characters, 
place4 as in the ordinary lower case (see Fig. 8 
on the preceding page). 

The California job case can readily be learned by 
paper folding as for the simple lower case. Use 
paper eight by four. After folding it into three 
vertical rectangles, tear off the right-hand one, 
and then proceed as indicated in the directions 
for the lower news case, which are given on 
page 13. 

The Yankee job case is used in many closed 
cabinets. The case is made five and one-half by 
eight instead of three and one-half by eight, and 
the additional space is divided into two rows of 
sixteen boxes each for the capital letters. This 
case differs from the other cases not only in 
having the capital letters on its long side, but 
also in the order in which the capital letters are 
laid in the case (see Fig. 9 on page 18). The lower- 
case letters are. laid as they are in the news and 
in the California job cases (see Figs. 7 and 8). 



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18 



LEARNING THE CASE 



19 



The most interesting way to learn the arrange- 
ment of the case is to set up the type in each box. 
Adjust your stick 1 to any desired measure. Hold 
it in your left hand at such an angle that the type 
will not fall out (Fig. 10). With your right hand 
pick up a piece of type and place it in the stick on 
its feet with the nick up. Use your left thumb to 




Fig. 10. Showing correct method of holding stick 

hold it in position until the next piece of type is put 
into the stick. When you have an entire line of 
type, hold it up before your eyes and read it. Be 
sure the nicks are up. Set lines of one letter until 
you can readily recognize that letter upside down. 
Then mark that letter in its compartment on your 
diagram and set up the letters in another box. 
Proceed in this manner until you know the entire 

1 See direction No. 2, page 33. 
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20 



LEARNING THE CASE 21 

case and can recognize every letter and punctua- 
tion mark upside down. 1 

The upper case can be learned very quickly, as 
the capital letters are in regular alphabetical 
order, with the exception of / and U, which were 
not a part of the alphabet when the case was 
planned. The Romans used I and V as both 
consonants and vowels. Later, when J came to 
be used for consonantal I, and U for vowel V, 
these letters were placed in the case in boxes 
following Z. The three upper rows of the upper 
case contain the diphthongs, fractions, dashes, 
braces, and various reference marks which young 
printers seldom require. Not all school printshops 
have a complete assortment of the type that is 
kept in these boxes, but in those shops that have 
them it is of advantage to the pupils to know 
where they belong. Fig. 11 shows a diagram 
of the upper case. 

1 To the Teacher: See that each pupil learns in the beginning 
to hold his stick correctly in his left hand. This direction may 
be helpful: With the stick held in the right hand place the 
left thumb in the corner made by the knee and the bottom of 
the stick. Without moving the thumb, clasp the fingers around 
the bottom of the stick and release the right hand. 1 his applies 
to the left-handed as well as to the right-handed child. Teach 
him to pick up the type with his right hand and to put it in the 
stick with the most direct movement. Whether he grasps it 
between the thumb and the forefinger with the nick up, or 
whether he turns the type over, depends upon the position it 
occupies in the box. The important thing is a steady, economi- 
cal movement. This is the time to form correct habits of hand- 
ling type. Have the pupil take a good position at a stand of 
the proper height and do not permit him to slouch at the case. 



CHAPTER III 

SPACING 

^ Great care must be exercised in composition in 
the matter of spacing. Not only the spacing 
between the words, but the leading between the 
lines, the indention of the lines, and, in some 
cases, the spacing between the letters of a word 
influence the final appearance of a page of print. 
Spaces are shorter than type, being made about 
four-fifths the height of the type, and of various 
thicknesses. Quads are large blanks used to fill 
out lines of paragraphs or of poetry, or other un- 
completed lines. An em quad is a square of type- 
body of any size (Fig. 12). In 10-point type it is 
10 points square; in 14-point it is 14 points square. 
An en quad is half the size of the em. The two- 

■ ■ ■ ■ 

Six-Pt. Eight-Pt. Ten-Pt. Eleven-Pt. Twelve-Pt. Fourteen-Pt. 

Fig. 12. Exact sizes of em quads 

em quad is twice as long as it is thick. The three- 
em quad is three times as long as it is thick. A 
/ 22 




SPACING . 23 

three-to-em space 1 (frequently called a thick 
space) is one-third of the em ; a f our-to-em space 

■n i ■ ii in mi urn iiiiinii 

2-em 1-em En 3-em 4-em 5-em Hair- 

Quad Quad Quads Spaces Spaces Spaces spaces 

Fig. 13. Exact sizes of quads and spaces of 10-point type 

is one-fourth of the em; a five-to-em space is 
one-fifth of the em. A thin space is usually a 
five-to-em space. The hair space varies from one 
to two points in thickness as the type increases 
in size. Hair spaces are also made of brass 
and of copper, one point and one-half point thick, 
respectively. (See Fig. 13 for spaces.) 

It is necessary to know the blanks provided for 
spacing. With experience one learns to recognize 
the size of a space both by touching it and by 
looking at it. 

The following exercise is helpful to a beginner. 
Use 12-point type. 

1. With a pica ruler measure the em quad. Measure 
the en quad. Compare them. The en quad equals what 
part of the em quad? How many en quads in an em quad? 
Prove by placing en quads side by side on an em quad. 
How many points in each? 

2. How many three-to-em spaces equal an em quad? 

1 Printers commonly use the terms three-em, four-em, and 
five-em in referring to the spaces. Do not let the similarity of 
terms in three-em spaces and three-em quads confuse you as 
to the meaning. 



24 THE SCHOOL PRINTSHOP 

Prove this by placing the three-to-em spaces side by side 
on the em quad. A three-to-em space equals what part of 
the em quad? How many points in a three-to-em space? 
How much wider is the en quad than the three-to-em space? 
How many points in two three-to-em spaces? How many 
points wider is this than the en quad? 

3. Examine the four-to-em space. Compare it with the 
em quad. How many four-to-em spaces equal the em quad? 
Place them together. A four-to-em space is how many 
points? Compare it with the en quad. How many points 
difference? Compare it with the three-to-em space. How 
many points difference? Which is wider and how much, 
two three-to-em spaces or three four-to-em spaces? How 
many points in a three-to-em and a four-to-em space together? 

4. Ask yourself similar questions about the five-to-em 
spaces. Study them until you readily know one space from 
another. If in doubt, measure by the em quad. 

5. With the other sizes of type study the spaces in the 
same way. When setting type, know exactly the number 
of points you are placing between the words. Do not vary 
by more than the difference between a three-to-em space 
and an en quad. 

Spaces are aliquot parts in width of the em quad. 

En quad equals 

Three-to-em space " 
Four-to-em space " 
Five-to-em space " 

The table on page 25 shows, in terms of the 
em quad, the combinations 1 that produce the 
smallest increase in space between two words. 

1 Reducing the fractional parts of the em to a common denomi- 
nator enables even the youngest printers to see at a glance how 
much they are increasing the space. 



V 2 of the 


em quad 


H " " 


a a 


K " " 


u a 


% " " 


a a 



SPACING 



25 



The three-to-em space (ordinarily used) equals 3^, or 20/60 



equal 

a o,/ 
72 

equals Yi 
equal % 5 



Two five-to-em spaces equal %, or 24/60 

A four-to-em and a five-to-em (H+H) 

An en quad 

A three-to-em and a five-to-em (>3+>£) 

A three-to-em and a four-to-em {% + %] 

Two three-to-em spaces 

Hair spaces are used between the words in this line . 
Five-to-em spaces are used between the words in this line. 
Four-to-em spaces are used between the words in this line, 
Three-to-em spaces are used between the words in this line. 



or 27/60 
or 30/60 
or 32/60 
or 35/60 
or 40/60 




Leads and slugs irregularly placed on a galley 





1 


1 


III 


III 


1 


lllllln.. 





Leads and shigs after rearrangement 

Fig. 14. Sorting leads and slugs 

Space between lines of type is made by placing 
leads between them. Leads (Fig. 14), are thin 



26 THE SCHOOL PRINTSHOP 

strips of soft type-metal about three-fourths of an 
inch high and varying in thickness from one to 
six points. The two-point leads are commonly 
used between lines of type. Six-point leads are 
called slugs. Slugs are also made 8 points, 10 
points, 12 points, and more in thickness. Brass 
strips, which are more durable than lead, are 
used in some newspaper offices. 

Different printshops differ somewhat in their 
style of work ; the following general rules, however, 
seem to meet the approval of many good printers : 

1. A three-to-em space is used between words 
set in ordinary lower-case letters. 

2. The en quad is used between words set in 
capitals or in extended letters. 

3. An en quad follows a colon, a semicolon, an 
interrogation point, and an exclamation point 
within the sentence. 

4. The space placed after a period 1 is slightly 
greater than the other spaces used in the line. 
If spacing with the three-to-em space, use an en 
quad after the period. 

5. Because the comma has so much shoulder, 
a word followed by a comma requires less space 

1 Many printers follow the period with the em quad. The 
end of one sentence is marked by the period. The capital letter 
indicates the beginning of the next sentence. A wide space 
is therefore not necessary to the thought. It may detract from 
the appearance of the page. Hence some excellent printers are 
using less space. 



SPACING 27 

than other words in the same line not followed 
by a comma. If the line is spaced with three- to- 
em spaces, a four-to-em space should follow the 
comma. This is also true of the period used to 
mark abbreviations. 

6. A three-to-em space precedes the first and 
follows the last mark of parenthesis or bracket. 

7. A thin space follows the first and precedes 
the last mark of parenthesis or bracket if there is 
not a wide shoulder. (The use of the one-point 
or the one-half -point is determined by the width 
of shoulder in the type.) 

8. A thin space should be placed before the 
exclamation point, the interrogation point, the 
colon, and the semicolon, except when the marks 
are cast (as they sometimes are) with sufficient 
shoulder to render it unnecessary. 

9. A thin space should separate the quotation 
marks from adjacent letters which are too close. 

10. No space is needed with the dash unless it 
follows a comma. In that case a thin space 
should be placed after the em dash. 

11. In poetry and at ends of paragraphs in which 
the type does not fill out the line, the blank is 
completed with quads. If the quads do not fill 
the line, spaces are used, placed next to the type. 

12. The space on each side of a word of two 
letters should not be greater than the space 
between longer words. 



28 THE SCHOOL PRINTSHOP 

13. Increase rather than diminish the space in 
order to "justify." 

Uneven spacing is to be avoided. Spacing 
should seem to be the same in all lines on the page 
Absolute uniformity is impossible, but the best 
compositors approach the ideal as nearly as they 
can. The amount of spacing to be put between 
words varies. It depends upon the measure, the 
width and irregularity of the letters, and the 
leading between the lines. While the three-to-em 
space is generally accepted as the normal amount 
of space to be used between words set in ordinary 
lower-case roman, there are exceptions to this. 
Condensed faces or closely fitted fonts are much 
more easily read when spaced with the four-to-em 
space than when the three-to-em is used. Extra 
wide spacing is to be avoided whenever possible, 
as it tends to produce the ' ' rivers of white ' ' which 
greatly disfigure a page of print. In printing 
around cuts, however, wide spacing is of course 
often unavoidable, but the blemish can be some- 
what hidden by normally spacing the lines which 
immediately precede and follow these wide-spaced 
ones. If there were the same slant to all the 
letters, and if the shoulders on all letters were 
equal, spacing would be reducible to a mathe- 
matical computation. Spacing, however, should 
only appear to be uniform. Consequently the 
good typographer must gauge the spacing of words 



SPACING 29 

according to the presence or absence of punctua- 
tion, the slope and height of the end letters, and 
the amount of shoulder these end letters bear. 
It is this nicety of spacing which makes the com- 
positor's work an art for which no rules can be 
laid down, but which calls for constant exercise of 
good taste and study on the part of the printer. 

.Because type is inflexible, the compositor is 
frequently confronted with a choice of evils. 
Sometimes a long word of one syllable cannot be 
put in at the end of the line, and the space thus 
left must be filled. Sometimes an improper divi- 
sion of a word or the ending of several successive 
lines in hyphens presents itself as an alternative to 
poor spacing. In all such cases the best com- 
positor will preserve his spacing as far as may be, 
realizing that upon the spacing depends that even 
tone of the page which is to give to his work the 
effect of solidity. 

Leads are placed between the lines of type 
primarily to render the page more readable. As 
a rule there should be more space between the 
lines than between the words in the line. Type 
without leads is said to be solid; with leads it 
is spoken of as single-leaded, or wide-leaded, 
according to the amount of space thus secured. 
Either practice is good form, provided the style 
chosen is consistently carried out. Roman type 
is much more legible when leaded, but for economy 



30 THE SCHOOL PRINTSHOP 

of space it is sometimes set solid. Black-letter 
should always be set solid. It is a decorative type 
in which the black lines much exceed the white 
spaces between the lines of the letter, and these 
characteristics are greatly enhanced by close 
spacing. This holds true of such heavy body type 
as that designed by William Morris. 

When the page is set in wide measure, it gener- 
ally requires more leading than when set in nar- 
row measure. Wide leading, however, does not 
demand extremely wide spacing. On the contrary, 
very wide spacing is fatal to the wide-leaded page, 
the combination resulting in a lack of coherence, 
giving a loose, scattered appearance. 

The best results in wide-leaded pages may be 
observed in the work of the French typographers 
of the eighteenth century, who also used the 
extremely wide margins which this style of lead- 
ing must have to band in the page. 

Indention is another form of spacing used prin- 
cipally to mark the beginning of paragraphs. It 
is also used in display and semi-display lines to 
distinguish certain arrangements. 

In ordinary book pages one em is the usual 
indention used to indicate to the eye the beginning 
of a new paragraph. Two ems are sometimes 
used, but only when the line is long or the page 
wide-leaded. The use of quotation marks (or of 
certain initial letters) may render necessary the 



SPACING 



31 



use of additional indention in order to make the 
capitals in dialogue or poetry align. 



1 ^ r' v who peaceably $hz& m- 

i>.t:.iou,U most Highest, shakgiVe 



°' l0 d o thtm 



""""^umc 






By courtesy of Mrs. F. R. Lillie 

Fig. 15. Reproduction of a page from a volume of St. Francis 
printed by the Doves Press 

Paragraph indention does not tend to make a 
page beautiful. Therefore, if the copy consists 
of one paragraph only, the indention may be 
omitted. If, on the other hand, there are two or 
more paragraphs, the omission of the indention 
savors of a mannerism. 



32 THE SCHOOL PRINTSHOP 

Whenever the style of type permits, printers 
may resort to the insertion of the paragraph sign. 
This was a common device of the early printers 
and has been used effectively by William Morris 
and by Cobden-Sanderson of the Doves Press, 
but its general use cannot be commended. (See 
Fig. 15.) 

Hanging indention is sometimes 
used to show a change in subject 
matter. In this form of inden- 
tion, the first line is set the full 
width of the measure, while all the following lines 
are indented one or more ems on the left. 

The squared indention consists of 
shortening the width by indenting 
each line at both the beginning 
and the end. It is very satis- 
factory when the copy admits of even spacing 
between the words. 

The inverted pyramid is some- 
times used on title pages. It was 
used by the early printers as a 
- form for chapter endings. It 

makes an effective ending for a long paragraph on 
a card which does not require special display. 



CHAPTER IV 

DIRECTIONS FOR COMPOSITION 

Composition in printing means setting type, 
proving, correcting, and making up into pages 
ready for the press. 

1. Stand in front of your case. Never lean 
against it. If your case is too high, use a plat- 
form. Choose one which is low enough to keep 
your body erect, but not too low to allow your 
right arm free play. 

2. Set your stick (Fig. 16) to the desired meas- 
ure. To do this accurately, use a sufficient num- 




Fig. 16. A composing stick 

ber of 12-point em quads to make the desired 
length of line. Then, in order that the type may 
be a trifle loose when the stick is locked tight, 
insert a thin piece of paper in one end. Move 
the clamp up against the quads tight enough to 
prevent the type from falling forward, but loose 

33 



34 



THE SCHOOL PRINTSHOP 



enough to permit lifting the line from the stick. 
Adjust the clamp firmly at this point, then re- 
move the quads and the paper and place in the 
stick a lead the same length as the measure. Put 
in a composing rule 1 (Fig. 17), if you are using 
one, the length of the measure. 

3. Hold the stick in your left hand inclined at 
such an angle that the type will strike the rule or 
lead directly. Pick up the type between the 
thumb and forefinger of the right hand. Select 
a piece of type that you can pick up and place 
in the stick with a direct movement of the hand, 
if possible without turning the type. As you 
place the type in the stick let your eye fall upon 
the nick of the next piece you will use. 




TWl 




TD 



II 



Fig. 17. Composing rule 

1 A composing rule is made of metal, usually 2 points thick. 
It is type-high and may be had in any length. At each end is 
an ear by which to lift it out of the stick. Each piece of type 
is set in the stick against the rule, and when the line is finished 
the rule is taken out and placed in front of it. 

A composing rule enables the compositor to set type rapidly. 
It is necessary in setting matter that is not to be leaded. It is 
useful in tying up. But in a class which does a variety of work, 
so many rules would be required that many elementary school 
shops do not use them for composition. In such shops the 
teacher usually keeps a rule to be used in tying up the type. 
Speed is not a factor in children's work, nor is it deemed advis- 
able to have elementary- school children set matter without leads. 



DIRECTIONS FOR COMPOSITION 35 

4. Begin to set type in the left-hand corner of 
the stick. Place the body of the type against the 
lead or composing rule with the nicks out and the 
face toward you. See that the type stands 
firmly on its feet and hold it in place with your 
left thumb. 

5. Make the blank which appears between 
words by the use of a space, the three-to-em size. 

6. Read carefully each line when it is set and 
correct all errors before putting in a lead. Be 
sure that the nicks align. Learn at the start to 
read your type with the letters upside down. 

7. If the line is poetry which does not fill out 
the measure, begin at the right end of the stick 
and put in quads to meet the end of the type. 
If the quads do not make the line tight enough, 
add spaces, putting them next to the type. Fill- 
ing the line in this manner makes distribution of 
type much easier and prevents the spaces from 
falling off the end of the line while being locked up. 

8. A line of prose must end in a word or syllable. 
In correcting errors in the line of type or in making 
each line end with a completed word or syllable, 
it may be necessary to change the spaces first 
put between the words. This process is called 
justification. If more room is needed for the 
type, the spaces may be changed for thinner ones ; 
if the line is too loose, wider spaces may be used. 
In either case keep the spaces as nearly alike as 

4 



36 



THE SCHOOL PRINTSHOP 



possible. Where variation is necessary, place 
the wider spaces between words ending with high 
letters so that the spacing will appear the same. 

9. Spacing should be uniform. Do not allow a 
thin-spaced line to follow a wide-spaced line, nor 
vice versa. 

10. See that the type rests squarely on its 
feet, and justify the line uniformly. A line that 
will not stand in the stick unsupported is too 
loose. If it cannot be easily removed from the 
stick, it is too tight. 

11. When the line has been justified, read it 
once more, looking for outs and doublets. Mis- 
takes should be detected and corrected while the 
type is in the stick, before the lead is placed in 




Fig. 18. Correct method of removing type from stick 



position. Then put in a lead, place the composing 
rule in front of it, and set another line of type. 



DIRECTIONS FOR COMPOSITION 



37 



12. When the stick is full, lift out the type 
(Fig, 18) and place it in your galley (Fig. 19). 




":?»# 



7 



Fig. 19. Galleys 

Set the stick in the galley. Never loosen the stick 
to take out the type. Do not wet the type in the 
stick. Always handle your type with the top of 
the letters toward you. In removing the type 
place your thumbs behind the first line in the 
stick, and the forefingers in front of the last line 
set. Press firmly together the lines of type thus 
held and raise them slightly while the other fingers 
push the stick downward. Use the sides of the 
second fingers, bent, to hold the ends of the lines 
as the type is lifted from the stick. Place it in a 
corner of the galley so that it rests against the 
left side of the galley, and with the first line of 
type next to the closed end of the galley. 




38 



DIRECTIONS FOR COMPOSITION 39 

13. Tie up your work (Fig. 20) at the end of each 
lesson in the following manner : First moisten the 
type with water. This will not injure the type, but 
will cause it to stick together. When you have 
become skillful in handling type, omit wetting it. 
Make a knot in one end of a piece of cord long 
enough to pass around the type from six to ten 
times. Place the knot next the right end of the 
last line set, holding it in place with the left hand 
until you have wound the cord from left to right 
to the starting point, then bind the knot in place 
by crossing it. Then move the type out of the 
corner and continue winding in even layers until 
you reach the end of the cord. Cross the knot 
each time and be sure that the cord passes in the 
middle of the body, or shank, and is drawn firmly 
and evenly. Fasten the cord by forming a loop 
near the end and pushing this loop down in 
between the type and the binding cord. Use 
a composing rule to push the loop down. Draw 
the loop to the end of the type line, leaving about 
an inch of the end of the cord sticking out. To 
untie, pull this end and gently unwind. When 
you have untied a job, fold the cord and save it. 

14. If you should pi your work, set it up in the 
stick and distribute it immediately. Never leave 
pi in your galley or on the imposing stone. If any 
type is dropped upon the floor, pick it up at once 
and put it in its proper place. 



40 



THE SCHOOL PRINTSHOP 



15. Proofs must be taken on the imposing stone 
if you have not a proof press. Do not take a proof 
until you think your work is correct. Then see 
that your type is on its feet and tied securely. 
The ink should be thoroughly distributed on an 
ink stone or on the disk of the press. Roll the 
brayer or roller over this and then over the type 
form, touching it at every point. If the roller 
has too much ink on it, the proof will be muddy 
and the imperfect letters not easily detected. 
Try to take a gray proof. Dampen the proof 
paper slightly and evenly by wiping it with a wet 
sponge. Carefully lay the paper, dampened side 
upward, on the type. With the left hand place 




Fig. 21. Mallet 




Courtesy of American Type Founders Company 

Fig. 22. Proof-planer 



the proof-planer (Fig. 22) on top of the type and 
hold it steady. Grasp the mallet (Fig. 21) with 



DIRECTIONS FOR COMPOSITION 41 

the right hand and strike quickly and firmly a 
perpendicular blow in the middle of the planer. 
A steadier blow may be struck with the end of 
the handle than with the mallet. Lift the paper 
easily from the type. Or, if you have a proof 
press, run the roller over the proof paper. 

16. Clean your type as soon as the proof is 
taken. Wash it with a brush wet with benzine or 
gasoline and wipe it with a soft cloth. 

17. Compare your proof with your copy. 
Mark in the margin every deviation from copy, 
using the proofreader's accepted marks (page 42). 

18. If there are mistakes in your work, make 
the necessary changes. In correcting a line raise 
it by an upward pressure of the ends until the 
wrong letter or letters can be lifted out by the 
thumb and finger. Do not use anything but your 
hands in working with type. If the spacing must 
be changed, either compute the space mathe- 
matically or use the stick and rejustify the line. 

19. At the close of the lesson return to its proper 
place everything you have used. 

20. Leave your work in your own galley in the 
galley rack. 

21. See that your name is on your copy, Mark 
on it the length of line and the size and style of 
the type you are using. Indicate on your copy 
just where you have left off. Leave your copy on 
its proper hook. 



PROOFREADER'S MARKS 



Marginal Mark 


Corresponding Mark in Proof 


Meaning 


caJus 


Make this mark 


Set in capitals 


yd.O. 


Make this mark 


Set in small caps 


Ic 


Make Tnis mark 


Set in lower case 


Arfyns 


Make this mark 


Set in roman 


jtoX, 


Make this mark 


Set in italic 


ft 


Make this mark 


Set in bold face 


Make this «{ark 


Wrong font 


X 

J- 


Make thigjmark 


Imperfect type 


Make this mavkd 
Make th4s mark 


Delete — take out 


MjJ> 


Stel or restore 


=#■ 


Makethis mark 


Put in space 


^^ 


Makjs this mark 


Close up space 


' A <nM.# 


w j 
Make thisjnark 
A 


Equalize space 


Kb *■ 


Make thisjmark 


Push down space 


□ 


.Make this mark 


Indent one em 


L 


L-Make this mark 


Move to left 


-J 


Mj.ke this mark 


Move to right 


i ■ \ 


"Make this mark 


Raise 


i 1 


t^ak^ this mark 


Lower 


//- 


11 Make this mark 


Straighten alignment 


© 


Make this mark . 
A 


Insert period 


y 


Make this mark. 


Insert comma 


\^ 


Make this mark,, 


Insert apostrophe 


-/ 


Hyphenate welL^being 


Insert hyphen 


.Make this mark 
A 

Make twis mark 


Paragraph 


3 


Invert 


Ms 


Make (mark]this^ 


Transpose 


<D 


Make mark 


Query to author 



42 



CHAPTER V 
PROOFREADING 

Notwithstanding the careful examination of 
each line of type when it has been set in the stick, 
mistakes do occur in the work. When the type 
has been put into the galley, the compositor should 
again read it over, making any corrections he finds 
necessary. This trains his eye to see mistakes 
in the type and helps him to secure clean proofs. 

When the setting-up is completed, a proof 
should be taken by a proof -planer or on a proof 
press. (See ' ' Directions for Composition, ' ' No. 15.) 

This proof should be carefully read and all 
mistakes marked in the margin. If more than 
one mistake occurs in the same line, the marks 
should appear in consecutive order in the margin 
and on the same level as the line of type. Proof- 
readers do not wholly agree in regard to the 
formation of all marks, but if the list here given 
is understood, minor deviations from it will be 
intelligible. 

The compositor is expected to follow the copy, 
and in most printshops he is held responsible for 
any divergence from it. Hence corrections marked 

43 



44 THE SCHOOL PRINTSHOP 

on the first proof are made by the compositor 
before a proof is sent to the author. 

The type to be corrected should be placed in a 
galley and the string removed. The correcting 
should begin with the first line and continue in 
regular order. 

No tools of any kind are needed in making cor- 
rections. If the changes to be made affect the 
spacing, put the line in the stick, make the correc- 
tions, and re justify the line. 

If the correction involves only the substitution 
of one letter for another of equal width, it may be 
done in the galley. Lift the line in which the 
mistake occurs about a pica above the rest of the 
lines by pressing on the ends of the line with the 
second fingers ; then take out the wrong letter with 
the thumb and first finger of the right hand, lower 
the type, and insert the proper letter. 

When all the corrections have been made, a 
second proof may be taken. This is necessary 
if mistakes are numerous and if outs and doub- 
lets occur which require the running-over of the 
paragraph. This second proof, called a revise, 
should be compared with the first proof. If the 
compositor has not made all the marked correc- 
tions, if he has made other mistakes, or if lines 
have been transposed, he again corrects his work. 
When his proof is correct to copy, it is sent to the 
author. 



CHAPTER VI 
LOCKING UP 

When the page or job has been spaced out to 
the required length and tied up in a proper man- 
ner, it is taken to the imposing stone to be locked 
up preparatory to putting it in the press. The 
imposing stone is a large, flat stone (although 
sometimes an iron surface is used instead of a 
stone) mounted upon a frame or cabinet usually a 
little higher than the ordinary table. (See Fig. 23.) 

The page or job is laid on the imposing surface 
with the top of the type at the left hand of the 
stoneman, unless the page or job is set in a measure 
wider than its length, in which case the top of 
the type is turned toward the body of the stone- 
man. With the type in either of these positions 
the impression taken on the press is easily read. 
An iron frame called a chase is then put around 
the type, which should be directly in the center 
of the chase from right to left, but a trifle below 
the center between the top and the bottom. 
Placing the type below the center of the chase 
prevents undue strain on the press. The bottom 
of the chase is that part nearest to the body of the 

45 




46 



LOCKING UP 47 

stoneman. The space between the type and the 
left side of the chase and that between the type 
and the bottom of the chase is then completely 
filled with wooden furniture. The remaining 
space, namely, that between the type and the 
right side of the chase and that between the type 
and the top of the chase, is also filled in with 




Courtesy of American Type Founders Company 

Fig. 24. Quoin and quoin key 

wooden furniture, but there should be left a space 
large enough for the quoins (Fig. 24) and a 6-point 
reglet on each side of the quoins. The object of this 
arrangement is to bring the quoins on the side and 
end opposite the feed gauges, an advantage if the 
form is unlocked during the work. 

Since the lengths of labor-saving wooden furni- 
ture are multiples of ems, the pieces of furniture 
when longer than the type must overlap so that 
they do not bind. This can be accomplished by 
placing at either side pieces of furniture slightly 




Fig. 25. A locked chase with type in place 
A, wooden furniture; B, reglets; C, quoins 



48 



LOCKING UP 49 

longer than the type form, the ends extending one 
toward the left, the other toward the right. The 
end furniture should be selected and placed in a 
similar way. So arranged, the furniture gives as 
the quoins move. The remaining pieces should be 
of the same length as or of greater length than the 
ones already in position. Quoins should be placed 
one piece of furniture removed from the type on 
the right of the chase, and similarly between the 
type and the top of the chase. The quoins should 
be so placed that the wedges next to the type 
point toward the left and the bottom of the chase, 
respectively. Reglets should be put on each side 
of the quoins so that when the quoins are forced 
together their sliding will not damage the wooden 
furniture. (See Fig. 25, page 48.) After the 
wooden furniture has been placed on all four sides 
of the type, the string should be removed from 
the type and the quoins slightly tightened with 
the fingers. 

Then plane the form lightly in order to make 
sure that all the type is on its feet. The wooden 
planer is laid gently on the type and tapped with 
a mallet to force down such pieces of type as may 
extend above the others. The quoins are then 
turned with the quoin key, one after another, 
beginning with those quoins which are placed 
parallel to the leads. Turn the key until enough 
pressure is secured to hold the entire form firmly 



50 THE SCHOOL PRINTSHOP 

together when it is .lifted from the imposing stone. 
If too much pressure be applied, it will cause the 
form to spring or will break the chase. Test by 
lifting one side of the chase and shaking it gently. 
Test further by pressing the type with the fingers. 
The locking-up process is a measure of the com- 
positor s work, for uneven justification may result 
in the pulling out of the type while it is on the 
press, causing spoilage and delay. If the form 
holds, it is ready for the press. 



CHAPTER VII 
IMPOSITION 

A form may consist of a single page or of a num- 
ber of pages. The proper placing on the stone 
and the arranging of these pages in the chase is 
called imposition. 

All forms of imposition may be best understood 
by paper folding. In the case of a folio the process 
is simple. Fold a sheet of paper once lengthwise, 
and without cutting the fold number the pages. 
Open the paper and you will find pages 1 and 4, 
the first and the last, on the outside and pages 2 
and 3 on the inside of the sheet. 

The outside pages, 1 and 4, may be locked in 
one chase and the inside pages, 2 and 3, may be 
locked in another. The first page is placed on 
the stone at the right, the fourth page at the left. 
The second page is placed on the stone at the 
left, and the third page at the right (Fig. 26). 
The head of the page should always be toward 
the stoneman. 

The printed folder is called a sheet, and this 
manner of printing is spoken of as sheetwise. 
Printing sheetwise requires double the presswork 

5 51 



52 



THE SCHOOL PRINTSHOP 



that would be required if the matter were run in 
a four-page form, but it is often necessary when 
the press is small. 





a. Inside section of folio 





b. Outside section 
4 occupies place of 2, and 1 occupies place of 3. 

Fig. 26. Method of placing pages on stone to print folio sheetwise 

Another scheme of imposition is, if the chase and 
press are large enough, to place the four pages in 
one form. After the paper has been printed on 
one side, the sheet is turned "end for end" and 
printed on the opposite side. When printed, page 
1 is on the back of page 2 and page 4 is on the 
back of page 3 (Fig. 27). The paper is then cut 
in halves crosswise, which gives this manner of 
imposing the name of half-sheet imposition, and 
the form is called a " work-and-turn " form. This 



IMPOSITION 



53 



method saves presswork and permits an accurate 
register. When a " work-and-turn " sheet is cut 
in two, there are two folders as a result of the 
sheet going through the press twice. When the 
sheetwise method is used, the two runs through 
the press result in only one folder. With either 
method, sufficient time for drying should be 
allowed before "backing up" is begun, or the 
ink will be smeared on the page. 





Fig. 27. Arrangement on stone of pages of a folio for half-sheet 
imposition — a "work-and-turn" form 



An imposition of eight pages is based upon the 
same principle as is that of four pages. Make a 
quarto by folding a sheet of paper first lengthwise, 
then crosswise. Number the eight pages and open 
the paper as before. Note carefully the pages that 
must be printed in pairs. In the quarto, as in the 
folio, there are an outside and an inside section. 



54 



THE SCHOOL PRINTSHOP 



The diagram (Fig. 28) shows the order of an 
eight-page " work-and-turn " form imposition for 
printing either sheetwise or half-sheet. It may be 
printed as the folio is printed. 








Fig. 28. Arrangement of pages in an eight-page form for either 
sheetwise or half-sheet imposition 

Fig. 30 shows a simple method of determining 
the proper arrangement of the pages on the stone 

< 10 - — J— 




J- 



Fig. 29. Showing method of folding paper 

for an eight -page "work-and-turn" form. Fold a 
sheet of paper as indicated in Fig. 29. Mark 



IMPOSITION 



55 



folio 1 on the inside of the first page — what 
would really be page 2 of a printed folder. 
Then mark folio 2 on what would be page 3. 
Skip the next two pages and mark folios 3 and 4 
on the next two. Skip the next two and mark 
folios 5 and 6 on the next two following. Skip 
the next two and mark folios 7 and 8 on the two 
following pages. After marking the first four 
folios slit the lower corners of the rest so that 
you may mark them easily. Unfold the sheet 
and you will find that the proper position for the 
folios is shown. 




numberirta ~~y 

€ Skip these two N ?CJ?e V Uso ^Skip these two 



Skip two 
Number these two 

Number th ese two 



Fig. 30. Method of numbering pages to determine proper 
arrangement of pages in a form 

Sheets as large as one hundred twenty-eight 
pages may be imposed to be printed together on 
the large cylinder presses, but in bookwork not 
more than eight pages of thick paper or sixteen 
pages of paper of medium thickness are printed 
to be folded together. (The manner of folding, 



5G 



THE SCHOOL PRINTSHOP 



hand or machine, also influences the imposition.) 
Sixteen pages (Fig. 31), sixty-four pages, or one hun- 



? 




91 




PI 




C 



7 




10 




u 




6 



8 




6 




ZJ 




.T 



/ 




16 




13 




4 



Fig. 31. Arrangement of pages in a sixteen-page form on stone 

dred twenty-eight pages are imposed on the same 
principle as that shown in the folio and quarto. 



IMPOSITION 57 

Fold paper to sixteen pages and compare the 
relative position of the mated pages (beginning 
with the first and the last) with those of the quarto. 

Many stonemen determine the outside and 
inside sections by beginning with two and cancel- 
ing every alternate pair of pages. As this indi- 
cates, page 1 is always on the outside section and 
page 2 always on the inside section. 



4 Pages 


8 Pages 


16 Pages 


1^3-4 


1 2r#± 5 #-7-8 


1 + 16=17 

13+ 4 = 17 


1+4 = 5 


1+8 = 9 


5+12 = 17 


2+3 = 5 


2+7 = 9 


8+ 9 = 17 




3+6 = 9 


7 + 10 = 17 




4+5 = 9 


11+ 6 = 17 

3 + 14 = 17 

15+ 2 = 17 



A method of checking is to add the page num- 
bers of any pair of pages. The sum is always one 
greater than the whole number of pages in the 
section. 

In locking two or more pages in the same form 
the stoneman must so arrange the furniture as to 
give the printed page the proper margins. He 
should know exactly what the head, back, front, 
and tail margins are to be and should make up 
the form to fit the paper. If the book is to be 
trimmed, the stoneman must allow for trimming. 
The usual allowance on an octavo for waste is 
one-eighth inch for the head, one-fourth inch for 
the front, and three-eighths inch for the tail. 



a 






vfepM 


d 


i t '^ " 




-■'■■■ .*' • ' 








nk3 






». : ; " 



Courtesy of the Chandler & Price Company, Cleveland, Ohio 

Fig. 32. 4 >& £re.ss 

rollers; &, ink plate; c, throw-off or trip; <f, stock board; e, feed board; 
/, platen; g, bed; /?, pulley wheels; z, large cam wheel; j, small 
cam wheel; k, right and left roller frames; I, fly-wheel; 
m, rocker lock; n, treadle; o, belt shifter 



58 



CHAPTER VIII 
THE PRESS 

The press should be kept clean and should be 
oiled once each week. A little oil, but not enough 
to run out on the machinery, should be put into 
each hole. The machinery should be wiped and 
examined weekly to see that all nuts and bolts are 
tight. The rollers should not be left dry. Each 
night a little machine oil should be put on the 
disk and the rollers run over it. In the morning, 
wipe clean with a cloth wet with kerosene. 

Put the ink on the extreme left hand of the disk, 
squeezing a very little from the tube or, if it is 
kept in cans, putting it on with an ink knife. The 
ink should be thoroughly distributed upon the 
disk and rollers before the form is placed in the 
press. If the runs are large, an ink fountain 
should be attached to the press and the ink thus 
distributed. (Fig. 32 shows parts of press.) 

The platen must be covered with a paper cover- 
ing called the tympan, the number of sheets vary- 
ing inversely with the area of the printing surface. 
For a Gordon press an average tympan for a full 
form of type consists of one sheet of hard press- 
board and from three to five sheets of print 

59 



60 THE SCHOOL PRINTSHOP 

paper covered by a manila top sheet ; or, omitting 
the print paper, use three or four manila sheets on 
top of the pressboard. A small form requires 
less tympan. It is better, when taking the first 
impression, to have a light tympan, as a strong 
impression is not so good a guide for making ready 
as a light one. It is a good plan to start with a 
light impression and add tympan until you get 
sufficient impression. 

When the form has been put upon the press, 
the grippers should be adjusted immediately so 
that they are clear of the form. If too close, they 
may be moved outward from the center or even 
removed from the press when necessary. 

Next a press proof should be taken and care- 
fully examined, not only for typographical errors, 
but for defective type, improper planing, and other 
oversights. The proof should be taken on clean 
paper of the stock to be used. An examination 
of the back of the impression will indicate whether 
to add or subtract from the amount of print paper 
used as packing. 

The printing press is so constructed as to give 
an even impression on every part of the printing 
surface. But this can be done only when all parts 
of the form resist pressure equally. If the form 
is solid type and the type is not worn, or else is 
worn evenly, the resistance is uniform. If the 
form contains type, cuts, and blank spaces, the 



THE PRESS 61 

resistance is not equal. The cuts may not be 
exactly type-high, since the mount is not always 
of uniform thickness. These defects may be 
remedied by underlaying, which consists of put- 
ting paper of varying thickness behind parts of 
the form to bring the whole form up to the same 
level. 

The resistance of a cut varies with its character. 
A solid black cut resists more than the type does, 
an outline cut resists less, while the blank spaces 
in the form offer no resistance. Cuts with con- 
trasts of light and shade resist more in the dark 
portions than they do in the light parts. When a 
form is made up of parts which differ in resistance, 
this difference must be equalized by a correspond- 
ing difference in the pressure applied. This is 
secured by an overlay, as the process of pasting 
bits of paper on the tympan is called. In taking 
an impression for an overlay, it is better to loosen 
the top sheets from the bottom bale, throw them 
back, and print on the bottom tympan sheet. 
The overlay should then be carefully cut and 
pasted where it is needed over the impression on 
the bottom sheet. Overlaying is a delicate oper- 
ation that requires time, but it is time well spent. 

The feed gauges should be placed on the top 
sheet of the tympan. The width of the margins 
should first be decided upon and then the exact 
distances from the top and from the lower side 



G2 THE SCHOOL PR INTSHOP 

of the impression measured and marked by points. 
Then lines should be drawn through these points, 
one parallel to the lines of the print and the other 
at right angles to them. The following is an easy, 
accurate method of drawing these lines: Place 
one side of a mechanical draftsman's triangle 
under the top line of the print in such a position 
that the other side of the triangle cuts the point 
marked below the lower side of the impression. 




Fig. 33. The guide pins in position 

A, guide pins; B, tympan bales; C, press-board; D, tympan sheet; 
E, projecting edge of platen. 

Draw a line through this point, extending it long 
enough for as many guide pins as are necessary. 
Then, with the line just drawn as a base, draw the 
other line at right angles to the first line and 
running through the other point. The guide pins 
can then be set on these lines in the exact position 
at the first try. There is no guesswork about it. 
(See Fig. 33.) Spring gauge pins are the best kind 
to use, as they never slip out or become loose. 

The impression should be carefully washed from 
the tympan before one begins to feed. In feeding, 




Fig. 34. Correct method of holding paper in feeding the press 



63 



64 THE SCHOOL PRINTSHOP 

place the sheet on the tympan so that the side and 
the top touch the respective guides (Fig. 34). If 
not skillful enough to do this directly, feed to the 
bottom gauges and slide to the end gauge. Put 
the paper in with the right hand as the platen 
opens and take it out with the left hand. Work 
for a steady, direct movement in unison with the 
press. Have the motor adjusted to the rate of 
speed at which you can feed without feeling hur- 
ried, and use the throw-off lever only when it is 
necessary. 

When the form has been printed, lift it from the 
press, wash the type in benzine or gasoline, using 
first a soft brush and then wiping dry with a 
cloth. Then unlock the form and place the type 
in a galley. Washing with benzine or gasoline 
does not clean the type well; it is therefore better 
to wash it in a weak lye solution before it is dis- 
tributed. Use a lye brush with a handle and leave 
the form under running water until all the lye 
water has been washed out. 

When washing the press wash the disk first. 
Use waste, pouring kerosene directly on the disk. 
Move the rollers up to the edge of the disk and 
wash first the top one, then the others, with a 
cloth wet with kerosene. End by going over the 
disk after the rollers have been thoroughly cleaned. 
Do not leave the rollers on the disk when the press 
is not in motion. 



THE PRESS 65 

Heat and humidity cause the roller composition 
to soften, and the surface then does not take the 
ink evenly. This difficulty may be obviated by 
the use in warm weather of summer rollers, which 
contain more glue than winter rollers and so are 
harder and tend less to become soft and sticky. 




Fig. 35. Correct method of dropping letters in distribution 



66 



CHAPTER IX 
THE DISTRIBUTION OF TYPE 

When the form has been printed, it is spoken 
of as ''dead," and the type should be carefully 
washed and put back into the case. The process 
of returning the type to its proper compartments 
in the case is called distribution. No one should 
attempt distribution who has not acquired some 
skill in handling type; in the beginning he should 
distribute but one line at a time. With a sponge, 
wet the type which is to be distributed. Pick up 
the line on a slug or lead, hold it in the left hand 
with the nicks up, the thumb pressed against 
one end of the lead, the second finger against the 
other, while the bent first ringer supports the lead 
in the middle. The line is thus in the same posi- 
tion as when in a stick. Read the last word in 
the line (next the second finger) , at the same time 
taking it up with the right hand. To take up the 
word, slide it forward with the second finger, then 
with the first and second fingers above and the 
thumb below the type lift it off the lead. A slight 
movement of the thumb and first and second fin- 
gers (the type resting partly on the third finger) 

6 67 



68 



THE SCHOOL PRINTSHOP 



will enable you to drop the letters one at a time, 
each in its proper box, without again looking at 




Fig. 36. Correct method of distributing type 

the type (Fig. 35). Spell the word in your mind 
as you go along. 

Special attention should be given to the distri- 
bution of spaces. They should be carefully sepa- 
rated and each size put into its own box. The 
mixing of the various sized spaces is a sure indica- 
tion of a careless printer. 

When you are able to distribute one line with- 
out spilling the type, take up two or more lines at 
one time. When you have become skillful, take 



THE DISTRIBUTION OF TYPE 09 

up as many as you can hold in your hand, with the 
first word of each line resting against the thumb, 
the mass of type in the hand supported by the first 
finger held back of the type and the bent second, 
third, and fourth fingers underneath the bottom 
lead or slug (Fig. 36). 

Distribution should never be hurriedly or care- 
lessly done. It means a ' ' dirty " proof on the next 
job and time wasted in correcting. Distribution 
is partly a matter of skill, but more largely a 
matter of honesty — a desire to put the type where 
it belongs. 



CHAPTER X 
MEASURING 

Composed type is measured by the em, a square 
of the body set. The measure or width of any 
page is expressed in picas. Leads and blanks are 
measured as type. 

To find the number of ems in composed type, 
multiply the number of ems in the width by the 
number of ems in the length. Example: 

a) A page of 12-point type set 20 picas wide measures 
33 picas in length. Find the number of ems. Answer: 
33X20 = 660 ems. 

b) A page of type set in 8-point is 24 picas wide and 
36 picas long. How many ems? 

Solution: 

1 pica = 12 points. 
24 picas = 24X12 points, or 288 points (number in 

line) . 
An em in this case is 8 points. 
In 288 points (divide by 8) there are 36 ems 

(width). 
36 picas (the length) =36X12 points, or 432 

points (in length). 
In 432 points there are 54 ems in length. 54X36 

ems = 1944 ems. 

70 



MEASURING 71 

Compositors in commercial shops sometimes 
work by the piece, in which case they are paid 
according to the number of ems in the type set. 
With a type gauge they measure the width and 
length of the type set and compute the total num- 
ber of ems. Sometimes the length is more than 
an even number of ems of the size in which it is 
set. In this case it is customary to drop the frac- 
tion if it is less than half an em and to add one if 
it is as much as or more than one-half an em. 

To find the number of pages a manuscript will 
make when set in type, first count the number of 
words on a page which is set in the desired type. 
Divide the number of words by the number of 
square inches on the page. This will give the 
number of words to the square inch on the page, 
which is the unit of measurement. 

Find next the number of square inches in the 
type page in which the manuscript is to be printed 
and multiply this by the number of words to the 
square inch. The product is the number of words 
to the printed page. 

Then divide the number of words in the manu- 
script by the number of words to the page, and 
the result will be approximately the number of 
pages required to set the manuscript. 

It is frequently necessary to know the number 
of pounds of type needed to set some job. It has 
been estimated that type which weighs one-fourth 



72 THE SCHOOL PRINTSHOP 

of a pound will set one square inch. To find, 
then, the quantity of type required for a given 
page, multiply the number of square inches on 
the page by one-fourth. The following "rule-of- 
thumb" is sometimes used for this purpose: 
Divide the number of square inches in the page 
by four. The result is approximately the number 
of pounds of type needed to set the page. 

Tables have been made showing the approxi- 
mate number of words to the square inch when 
type is set solid and when it is set leaded. 

Number of Words to the Square Inch 

8-point, solid 32 

8-point, leaded 23 

10-point, solid 21 

10-point, leaded 16 

11-point, solid 17 

11-point, leaded . . 14 

12-point, solid 14 

12-point, leaded . . 11 

14-point, solid 11 

14-point, leaded 9 

1 8-point, solid ........ 7 

18-point, leaded 5 



CHAPTER XI 
ENGLISH 

A. PUNCTUATION 

Many writers rely upon their printers for 
technical correctness in such details as spelling, 
punctuation, and capitalization, and readers gen- 
erally ascribe any mistakes they find in these mat- 
ters to careless typesetting and proofreading. For 
these reasons the printer must be prepared to avoid 
mistakes himself and to correct those of others. 

Printshops differ in their ways of doing things, 
but each shop has for its own guidance a con- 
sistent plan of work. The following fundamental 
rules may be safely followed in the school print- 
shop. They do not cover all questions of typo- 
graphic style that will arise, but they are the 
rules most frequently needed and are based upon 
standard practice. They are grouped together 
for reference. 

Period 

1. Use a period at the end of a declarative or 
imperative sentence: 

The year contains twelve months. 
Do your work neatly. 

73 



74 THE SCHOOL PRINTSHOP 

2. Use a period after abbreviations: 
Dr. Mr. Mrs. 

Caution. A period is not required after run- 
ning heads, centered titles, date lines at the top 
of letters, address lines at, the end of articles, 
Roman numerals when standing alone, chemical 
symbols, or signatures. It may be used after 
Arabic figures in the numbering of paragraphs. 

Interrogation Point 

Use an interrogation point at the end of an 
interrogative sentence : 

What time is it? Who goes there? 

Caution. An interrogation point is not required 
after a question that is really a request : 

Will you please close the door. 

Note. A question within a declarative sentence 
retains the question mark : 

The question, What became of it? was never answered. 
The two basic questions are: first, What do we desire? 
second, How shall we attain our end? 

Exclamation Point 

Use an exclamation point at the end of an 
exclamatory word, phrase, or sentence : 

Phew! 

What kindness! 

Give me liberty or give me death ! 



ENGLISH 75 

Comma 

1. Use a comma to indicate slight pauses in 
thought, and wherever clearness requires it. The 
following sentences illustrate the necessity of the 
comma : 

While he watched, a beggar passed by. 

What we saw, proved the case. 

As you know, the earth turns on its axis once a day. 

The night before, he had said that there was no danger. 

As I was passing, the house burst into flames. 

Caution. Never separate the parts of a sen- 
tence that belong together and are in their natural 
order; as: subject and predicate; predicate and 
complement; adjective and noun; adverb and 
adjective. 

2. Set off by commas all parenthetical elements: 

a) Appositives: 

William Morris, the greatest art printer of modern 
times, was also a poet. 

b) Non-restrictive adjective clauses, that is, 
adjective clauses that can be omitted and leave the 
sentence complete: 

The School of Education, which I attend, is situated 
on the Midway. 

The heights, which were at some distance from the 
town, also were captured. 

(Commas are always to be used in pairs in the 
case of non-restrictive clauses.) 



76 THE SCHOOL PRINTSHOP 

Note. A restrictive adjective clause, that is, 
one that is essential to the meaning, should never 
be set off by commas: 

The heights which we stormed were finally captured. 

3. Set off by commas words of direct address: 
Henry, where are you going? 

When you come, Jane, we will weed the garden. 

4. Set off by commas absolute and participial 
phrases : 

The mail having come, we began to read our letters. 
Being tired, he went home. 

5. Set off by commas the words "yes" and 
"no" when they are part of the answer to a 
question : 

Will you come? No, I cannot. 

6. Use a comma to separate the terms of a 
series, whether words, phrases, or clauses, where 
no conjunctions are used or where one conjunction 
is used to join the last two terms : 

I came, I saw, I conquered. 
We had cake, candy, and fruit. 

The smoke was rising, the trees were crackling, and 
the forest fire was well under way. 

7. Use a comma to separate coordinate clauses 
when they are joined by a simple conjunction: 

No rule can be framed to cover all cases, but the under- 
lying principle is clear. 

Remove the clause, and the sentence is meaningless. 



ENGLISH 77 

8. Use a comma after a dependent clause which 
precedes the principal clause: 

When the day came, we carried out our plan. 

9. Use a comma to separate the parts of a date 
or of an address: 

January 27, 1916 
Chicago, Illinois 
June 7, 1916 

10. Use a comma after "alas" and "oh" in 
sentences like the following : 

Alas, we all suffer. 
Oh, help the lady! 

Do not use a comma after the vocative " O ' ' : 
"0 world! Olife! Otime!" 

Semicolon 

1. A semicolon is used (a) sometimes like a 
large comma and (b) sometimes like a small period : 

a) The schoolhouse, being deserted, soon fell into 
decay, and was reported to be haunted by the ghost of 
the unfortunate pedagogue; and the plowboy, loitering 
homeward of a still summer evening, has often fancied 
his voice at a distance, chanting a melancholy psalm tune 
among the tranquil solitudes of Sleepy Hollow. — Irving. 

b) To err is human; to forgive, divine. 

2. The words "namely," "for example," "as," 
and similar words, when used to introduce an 
example or an enumeration, are usually preceded 
by a semicolon and followed by a comma. 



78 THE SCHOOL PRINTSHOP 

Colon 

Use a colon in the following cases: 

1. After a salutation: 

Dear Sir: 

Ladies and Gentlemen: 

Friends, Romans, Countrymen: 

2. After a word, phrase, or clause used to intro- 
duce something that follows, such as a list or an 
extended quotation : 

The colors of the spectrum are these: red, orange, 
yellow, green, blue, indigo, and violet. 

3. Between the parts of a number denoting 
time, and in Bible references citing chapter and 
verse : 

8:30 a.m. 

Luke 17:20 

Matt. 10:15 — 11:10 

Quotation Marks 

1. Use quotation marks, two turned commas at 
the beginning and two apostrophes at the end, to 
inclose a direct quotation: 

The old man said, "It is time to go home." 

Caution. Do not inclose indirect discourse in 
quotation marks: 

The old man said that it was time to go home. 

2. When an extract consisting of more than one 
paragraph is quoted, the turned commas are 






ENGLISH 79 

placed at the beginning of each paragraph, but 
the apostrophes are used only at the end of the 
final paragraph : 

"But that which endears Giotto to the hearts of his 
countrymen, to the hearts of all those who love beauty, 
in fact, is his exquisite bell-tower in Florence, Giotto's 
Campanile. 

"It is a tall, slender shaft of variegated marbles, 
detached from the church, as all bell-towers are in Italy, 
but it is so graceful, so beautiful, so rich in detail, and so 
perfect in proportion, that you cannot wonder men gaze 
on it with admiration." 

Note. When the observance of Rule 2 causes 
an unsightly appearance, the extracts may be set 
in a smaller size or different style of type, or in 
narrower measure, in a separate paragraph. The 
quotation marks may then be omitted, as they are 
not needed to show that the matter does not belong 
to the text. When, however, a reduced size of 
type is used for a series of quotations following 
directly after one other, the quotation marks are 
retained for each quotation. 

3. A quotation within a quotation is indicated 
by single quotation marks; one within that by 
double marks again: 

Bertholde answered, "I wish to remain free; but I 
cannot if I accept your presents, for the proverb says, 
'He who takes, sells himself.' " 

4. Slang phrases, or others current in speech, 



80 THE SCHOOL PRINTSHOP 

but not in good taste for writing, are quoted when 
they appear in print: 

The boys thought they could "put one over" on the 
teacher that day. 

5. The punctuation of quotations is illustrated 
by the following sentences: 

She answered, "I am here." 

"This is the best of all!" they shouted. 

Said he to the boy, "Whither wilt thou look for thy 
goats?" 

Did John say, "I know"? 

"Yes," said Miss Polly, "three generations." 

"No," said Mrs. Treadwell. "I'll tell you what I 
did see." 

"If he does," said King Hal, "I shall have him hanged 
a quarter of an hour afterward." 

"Ah, but that would not save my life," said the Fool. 
"Couldn't you have him hanged a quarter of an hour 
before?" 

"Where are you going?" asked the man. 

6. In dialogue each separate speech is quoted, 
and a new paragraph is required for each speaker 
in turn. 

Note. The period and the comma are always 
placed inside the quotation marks. The colon, 
the semicolon, the exclamation, and the interro- 
gation point are sometimes placed within and 
sometimes without the quotation marks, depend- 
ing upon whether the punctuation is part of the 
quotation. 



ENGLISH 81 

Dash 

Use a dash: 

1. To indicate the abrupt breaking off of a 
sentence or thought: 

Here are the tickets — don't lose them. 

2. Before a word or group of words that repeats 
or summarizes or modifies what has gone before: 

We are not here to play, to sleep, to dream — in other 
words, to drift. 

Greece, Rome, Carthage — all are gone. 

3. Sometimes before a quotation which begins 
in the middle of a line of poetry: 

We, too, were — 

" — the first that ever burst 
Into that silent sea." 

4. As a substitute for marks of parenthesis: 

She had a basket on her arm — she, too, in spite of her 
pride — and very humbly she offered her wares. 

Marks of Parenthesis 

Ordinarily dashes may be used in place of marks 
of parenthesis. When marks of parenthesis are 
used, the inclosed matter is irrelevant. 

Hyphen 

1. When it is necessary to divide a word at the 
end of a line, make the division by syllables and 
place a hyphen at the end of the line. 

2. The hyphen is used in many compound 
words. No simple rule can be given for its use 



82 THE SCHOOL PRINTSHOP 

or for its omission. Correct practice in each case 
can be learned only from observation and the 
study of the dictionary: 

surgeon-general together 

self-preservation without 

3. Compound words denoting number are 
hyphenated : 

eighty-six forty-nine 

4. Two words which are combined into one 
adjective before a noun are hyphenated: 

public-school curriculum baking-powder biscuit 

Apostrophe 

Use an apostrophe in forming : 

1. The possessive case of nouns: 

the boy's book James's ball boys' hats 

Caution. An apostrophe is never used to form 
the possessive of personal or relative pronouns: 

its theirs whose hers his 

2. The plural of figures, signs, letters, and words 
used as words: 

The 2's and the 5's look alike. 
+ 's and — 's are confusing. 
My father studied the three R's. 
Use fewer "and's." 

3. Use an apostrophe also to take the place of 
the omitted letter or letters in a contracted word : 

'Tis mine. Couldn't you do that? 



ENGLISH 83 

Brackets 

1. Brackets are used to inclose a word or words 
of explanation inserted in a quotation by the 
person quoting. The quoted words are shown by 
the quotation marks; the interpolated words are 
within the brackets : 

The speaker declared, "The centuries of war are 
passed [said in the nineteenth century] and an era of 
peace is before us." 

2. Brackets are used to supply omissions or to 
correct errors in the text. (This is a common 
practice of librarians on catalog cards when sup- 
plying the date of publication or other missing 
information.) 

Our party explored the region last year [1910]. 

3. Brackets are used to inclose a parenthesis 
within a parenthesis: 

"His last act (like a choleric old gentleman [though 
evidently the writer's favorite]) was to' kick his doctor." 

B. DIVISION OF WORDS 

There is much difference of opinion among 
printers, writers, and makers of dictionaries as to 
the division of words into syllables. The best 
general practice is to follow the rules for pro- 
nunciation. The following suggestions are made 
on that basis. When in doubt, consult the dic- 
tionary, following the one you are accustomed to 
use as authority, but keep an open mind on the 
7 



84 THE SCHOOL PRINTSHOP 

subject and be ready to note the usage of author- 
ities on printing. 

1. A word of one syllable cannot be divided: 
has did should though 

2. Words can be divided only on a syllable; it 
is best to divide on an accented syllable : 

constitu-tion 

Note. If the division on the accented syllable 
interferes with the proper spacing of the line, the 
printer should divide the word on an unaccented 
syllable. 

3. It is better to end a line with a single vowel 
syllable than to begin the next line with the 
vowel, even though the accented syllable may be 
placed as in "bene-fit." 

4. Unless the measure is very narrow, a syllable 
of two letters should not be left at the end of a 
line or carried to the beginning of the next. For 
instance, do not carry over ly, ed, or er, and do not 
divide such words as "al-most," "re-mit," and 
"oc-cur. " 

5. Never separate a syllable of one letter from 
the rest of the word : 

a-way a-gain 

Words ending in ed, as in the past tense of regu- 
lar verbs, should not be divided: 

lingered printed wronged 



ENGLISH 85 

6. Do not divide words of four or five letters: 
lady maybe 

7. Compound words should be divided only at 
the point of their union as compound words: 

Irish-American self-filling 

8. Do not separate the initials of a name. 
Carry them over to the next line. This rule 
applies also to p.m., a.m., a.d., and all similar 
combinations. 

9. Do not divide figures at the end of a line. 

10. Do not end more than two consecutive 
lines with a hyphen. 

c. SPELLING 

1. Titles of honor and respect preceding the 
surname should be spelled in full; for example, 
General Grant (although Gen. U. S. Grant may 
be permitted). 

Note. ''Mr.," "Mrs.," and "Dr." are excep- 
tions to this rule. 

Compound titles should always be spelled in 
full, and both words should be capitalized: 
Vice-President Marshall 

2. Christian names should be written in full 
unless they are used as a firm name or as a sig- 
nature : 

Woodrow Wilson O. Henry T. B. Brown & Co. 



86 THE SCHOOL PRINTSHOP 

3. All numbers of less than one hundred which 
occur in ordinary reading matter should be spelled 
out. Matter statistical or technical in character 
is an exception to this rule. (See also Rule 4, 
following.) 

4. Numbers beginning a sentence should always 
be spelled in full. 

5. Round numbers should be spelled out; for 
example, five hundred. 

6. When round numbers and numbers not round 
occur in the same sentence, use figures for both, 
transposing the sentence, if necessary, in order to 
avoid beginning it with figures. 

7. Spell out the time of day when a.m. or p.m. 
is not used in connection with it. In that case use 
figures : 

three o'clock half after nine 4:00 p.m. 

8. Spell out the ages of persons: 
sixty -five years old 

9. Print in full the figures representing the 
year: 

1916 (not '16) 

10. Spell out the names of states if they are 
short. The name of any state occurring in ordi- 
nary reading matter should be spelled out : 

We visited Portland, Maine. 

11. Spell out the names of months. 



ENGLISH 87 

D. CAPITAL LETTERS 

Three lines under a letter or word indicate that 
it is to be set in capitals (caps). 

1. Capitalize proper nouns and adjectives. 
Capitalize common nouns when they are used 
as part of a title: 

The United States of America is a republic. 
The French are a more frugal people than either the 
English or the Americans. 
Busy Bee Club 
Mississippi Valley 
Rheims Cathedral 

Note. The word "Van" in Dutch proper 
names is usually capitalized; the Moorish "Al" 
and the Turkish "El" are always capitalized; the 
German "von" is not capitalized unless it begins 
a sentence ; the French " de " is capitalized except 
when it is preceded by a Christian name : 

Dr. Van Hoosen, but: Henry van Dyke (changed by 
Dr. van Dyke) 

Haroun Al Raschid 
Professor von Hoist 
De Vigny, but: Georges de Vigny 

2. Capitalize titles when they precede proper 
names; titles of United States governmental offi- 
cers of high rank are always capitalized: 

The matter was referred to Professor Angell. 
The committee conferred with President Wilson. 
The President sent orders to Commander-in-Chief 
Pershing. 



88 THE SCHOOL PRINTSHOP 

3. Capitalize names of societies and corpora- 
tions : 

The Red Cross Society 
The Standard Oil Company 

4. Capitalize the words ' ' street, " f ' avenue, ' ' and 
similar words when they are used in connection 
with names: 

Massachusetts Avenue 
Thirty -first Street 

5. Capitalize the first word of a sentence and the 
first word of every line of poetry: 

Printing was invented by the Chinese. 

Breathes there the man with soul so dead 
Who never to himself hath said, 
"This is my own, my native land!" 

6. Capitalize important words in titles of books, 
newspapers, and magazines; that is, nouns, pro- 
nouns, verbs, adjectives, and adverbs: 

A Tale of Two Cities 
Chicago Tribune 
The Nation 

7. Capitalize the pronoun "I" and the vocative 

He asked if I were going home. 

Build thee more stately mansions, O my soul. 

Note. The interjection "oh " is not capitalized 
except when it begins a sentence: 

We traveled, oh, so many miles across the snow. 



ENGLISH 89 

8. Capitalize the names of the days of the week, 
the months of the year, and civic holidays : 

The class meets on Mondays and Thursdays. 

In some climates November is a cheerless month. 

The Fourth of July Memorial Day 

Note . Do not use capitals for ' ' spring, " " fall, 
" winter," and "summer." 

9. Capitalize the names applied to the Deity: 
God Almighty Jehovah 

Note. Personal pronouns which refer to the 
Deity are also capitalized, as "His," "Thy," 
"Thine." Relative pronouns used of the Deity, 
as "who," "which," are not capitalized. 

10. Capitalize certain abbreviations, such as: 
Mr. Dr. St. Ph.D. Co. 

11. In hyphenated words occurring in titles, 
capitalize the second member of the compound 
only when it is a noun: 

Twentieth-Century Inventions,, but: Fifty-fifth Street ; 
So-called Wealth 

12. Capitalize nouns or adjectives designating 
sections of the country when they are used as 
names : 

The old Northwest 
The solid South 

Caution. Do not capitalize the words "north," 
"south," "east," and "west" and their deriva- 
tives when they indicate direction. 



90 THE SCHOOL PRINTSHOP 

E. CAPITALS AND SMALL CAPITALS 

Two lines under a letter or word indicate that 
it is to be set in small capitals (s.c). 

1. Use caps and small caps for the salutation 
of a letter: 

Dear Sir: 

2. Use caps and small caps for the names of the 
town and state in a letter heading: 

Chicago, Illinois 

3. Use caps and small caps for signatures: 

John Smith 

4. Use caps and small caps for Section in con- 
stitutions at the beginning of paragraphs. 

5. Use caps and small caps for Note at the 
beginning of a paragraph. 

6. Use caps and small caps for Whereas in 
resolutions at the beginning of a paragraph. 

Small capitals, set close or with thin space, are 
used for a.m. and p.m. and b.c and a.d. 

f. ITALICS 

One line drawn under a letter or word indicates 
that it is to be set in italics. Italics may be used 
for: 

1. The preface of a book. 

2. An introductory note. 

3. A circular letter. 

4. Short bits of poetry. 



ENGLISH 91 

5. Foreign words and phrases not yet angli- 
cized : 

Merci! 

De gustibus 

6. Address lines in letters: 

Mr. John Smith, Evanston, Illinois: 

7. Address lines in speeches: 

Mr. Speaker: 
Friends: 

8. The word Resolved in formal resolutions. 

9. The signature at the end of an extract. 

10. The title or office of a person following his 

signature : 

John Jones, Secretary 
L. E. Brown, Chairman 

11. The words To be continued at the end of 
an article and the word Continued or Concluded 
at the beginning of an article. 

12. Subheads, side-heads, and running heads. 

13. Titles of publications — books, pamphlets, 
periodicals, and newspapers. 

14. If the title of a book begins with "the," it 
should be italicized and capitalized. In the name 
of a periodical ' ' the ' ' should be printed in lower- 
case roman even if a part of the title ; an exception 
to this rule is the title of a periodical which con- 
sists of only two words one of which is ' ' the ' ' : 

I read the Chicago Tribune, but: I read The Nation. 



CHAPTER XII 
ART IN PRINTING 

Art as related to printing is generally taken to 
mean printing done with specially designed type 
on hand-made paper, producing a result that is 
far removed from utility. Books thus made are 
usually issued in a limited edition intended for 
only a few persons — those artistic enough to 
appreciate the excellence of such books or rich 
enough to gratify their aesthetic whims. 

Art in printing, however, is not mysterious; it 
can be learned by any printer and achieved in any 
printshop. It may be strictly utilitarian — in the 
sense of being useful — and it may be attained 
with purely commercial type. It is not necessa- 
rily expensive. Well-designed type can be bought 
as cheaply as poorly designed type, and a well- 
arranged page costs no more than one that dis- 
regards the principles of design. 

Simplicity is the keynote of artistic printing, 
which is, after all, only putting into consistent 
relations with one another all the factors involved 
in printing. Every beautiful page conforms to 
certain principles of design. The printer who 

92 



ART IN PRINTING 93 

knows these principles — the laws governing har- 
mony of shape, balance, and tone — can better 
control any given situation than one who has not 
this knowledge. 

A knowledge of rules, however, can never take 
the place of good taste and of a feeling for the 
right arrangement. Since both are essential, the 
pupil must study many examples of fine printing. 
Printing was invented at a time when all crafts- 
men worked for beauty, and, while much of the 
early work was crude, it had in it genuine art. 
Although not much early work is within our 
reach, some city and university libraries contain 
a few originals, and it is possible to secure 
facsimiles of others. There are also many print- 
ers of to-day whose work attains high artistic 
excellence. 

Artistic printing depends, first, on a high order 
of typography; secondly, on the arrangement of 
the type mass in conformity to the structural lines 
of the paper ; and thirdly, on the correct placement 
of the block of type upon the page. 

Good typography means, first of all, legibility. 
The legibility of the page is affected by (a) the size 
and shape of the type and the character of its line, 
(b) the spacing between the words and the dis- 
tance between the lines of type, (c) the color of 
the ink and the quality of the presswork, and (d) 
the shade and finish of the paper — the factors 



94 THE SCHOOL PRINTSHOP 

which determine the tone of the page. These are 
also the factors which help to make the page 
interesting or uninteresting; for, while legibility 
is the chief consideration, the simple beauty of the 
printed page is not of minor importance. 

The student of printing must apply to his work 
in the printing class the principles of design 
learned in the art class. When undertaking a 
piece of printing, he should begin by making a 
plan for it. He must choose a style of type that 
will harmonize with the subject. He must decide 
upon the proportions of his type mass with rela- 
tion to the space to be filled, and select a size of 
type consistent with that space. He must then 
make a pencil sketch upon a sheet of paper of the 
proper size. This sketch, called in printing offices 
a layout, should specify the exact size and style 
of type, the size of the type mass and its location 
on the paper, the place of the cut, if any is to be 
used, and all other details necessary to show how 
the work will appear when completed. The mak- 
ing of the layout is important. The best com- 
mercial shops find it quite worth while to employ a 
professional typographic designer who does this 
work for the compositors and pressmen. 

In the making of a design, care must be exer- 
cised to have the mass of type conform to the shape 
and proportion of the paper. For example, a 
square mass printed on an oblong-shaped paper is 



ART IN PRINTING 95 

not pleasing. If the length of the paper is to be 
greater than the width, the type must be so set 



(SNVOY 


Jl little work, a little play 
To k ee P us going — an d so > 
good-day! 


Jl little warmth, a little light 
Of love 's bestowing — and so, 
good-night! 


Jl little fun to match the sorrow 
Of each day's growing — and so, 
good-morrow! 


Jl little trust that when We die 


We reap our sowing — and so, 
good-bye! 


George T)u HM,aurier 



Fig. 37. Type matter j or a card {outline shows margins) 



96 THE SCHOOL PRINTSHOP 

that the type mass is greater in its vertical than 
in its horizontal direction, and vice versa. As 
a rule the appearance is more pleasing when 
the mass is decidedly vertical or decidedly horizon- 
tal. There should be enough difference to lend 
distinction. 

The space surrounding the block of type must 
be correctly proportioned if the page is to be 
satisfactory. In a finely designed page this mar- 
gin must be of sufficient width to serve as a frame. 
So treated it helps to unify the block of printing 
within, and leads the eye at once to the con- 
sideration of the block itself. If the printed mat- 
ter is on a card or a single sheet, not to be bound 
in a book, the usual rule is to make the top and 
the side margins equal, or nearly equal, and the 
bottom margin wider. (See Fig. 37.) 

In the case of a book the two open pages form 
the unified block and the same general rule is 
observed. (See Fig. 38.) Some otherwise good 
printers make the mistake of regarding the single 
page as the unit of the book and place the type 
mass in the middle of the page. As a result of 
this practice the binding edge appears wider than 
the fore edge, and the top margin wider than the 
bottom one. 

From the time books took their present form, 
about the fourth century, until the sixteenth 
century, the book page was placed in a dignified 



ART IN PRINTING 



97 



position which young printers may safely adopt. 
As may be seen from the illustrations, these 
makers of books left the least margin on the bind- 




Fig. 38. To show open page as a unit. From Aldine Press, 1522 

ing edge, increased the width at the top, made the 
width of the side margins still greater, and gave 
the tail the widest margin of all (Figs. 38, 39). 
It is said that this was done because the book is 
handled at the sides and the bottom and mar- 
ginal space was given for this purpose. Another 
reason may be that the eye naturally focuses on 



que tpfeadpravfidiu oppugnandu t«tque*at:cpmbsisailiduis:haft,'iq-, 
axu iVfe iu-rchifiJintetfcdieceWierc.faiftacjcde^sene magna exupttone 
:"• c N'h a A opp'.Jii tecupadsi occafioneno prxtemutcut . & reiiquos 
it; uos capuT c . O u k ru o r J earn mttta utfaone ( pfici{cu t.quod oppsdum 
magna rsiuiuti one eocmsbanfic ut lpfe locus no tblti operc tfedetiam 
nuar.i echttead oppugnidu hofterri appeteret.Hoc aandersit:q> aqua 
p ■. •: ,-kj i ipfo oppvdo no etataia araiatcanufcjreperiebat'tiuus ,ppius 
1 u - Qj l its magnoct'at aJiunteto oppidams.tu pra*retea 
3fi<\:d\ic:u£:ager:ra.uenefcp undefolit* fut tunes agi: /ppuis rml.paf'' 
fuurafexrtovi rcpertebat". AcPdpciusut oppidt oppugn stionc cutioiv 
r-i r omnrinatKncatcuopptdu rua-if'iincrocogrrur.haneccflAfio 

h i.v^mr'n;'i:ut a muda qui /pxfc ceperatimaieni-.u ii;o dcpoctaret. 
On hxc ad mudatn gerut" & urfaoncmiCvfar cu gadibits ad hifpalim 
ft- . . ■:.- tr.u-r.i ft-quctidie cocioc aduocata cdmemorauic. initio ejusftu- 
;,r I Mi- ea .pumaa ex ofbus ,puinais peculiarem fibi confhcunTe. &/r|«« 
pounil -i ■•'.> crmpore bem-f :ua latgiai die . in ft-querni pra-fura ipbaio 
honore uec"hgjuta:qua* Mctellus impofuiiTcc ; a U'uatu penile .Sous 
pecxima^ufciihbfialTc.Sirnuk]; pvonnto i'uiccpro:ai,:i-,]- ksjanouin? 
abfcf :'.-iiatu tJii/bi: fiinu 'pul>!iOs:pnuatik]: o,u:.-. i ■ s m ! i •:-. k: umiccu-s 
fufceptls deittidlfk- . Suo iff f cil" : .bm XAziuc q<> ;■ po- ■ „Tct comoJa 
puinoiT ftlbuifle. eo^omni'l r.omodoiv l t U- ..\ ;.,>.>> ..:.,.: 6; ::igr.;;vs 
m fe:& in populu ronuiiu:ii<) . h.;ik>:&: m prxt.. cico ccpw cognoiiuTe, 
uos turegen.au & nuiu romanoni inftuutt.s cogmsis more i>a!Bacorusn 
populi ronvim magna cranfeo fae'tis romanis femel & fjcpius atrulii is, 
& luce data captum. in medio fofo nefane interfkere u.oluulis. Vos its. 
pacern. fcp odtftis : utnullo tempore legioes defmt populi ro.m hac t p' 
uincia haberi.Apud uos beneficta p maieficiis : maieficia pro benefiais 
habent . Ita nea? in dcio cccordia ;neq; in bello uirtuicm ullo tempore 
rc-tkrz pocuite.Pnuatus ex fuga Cn.Popeius adolefcens a uobis reegx 
i as: fa fees ipenuqjfibi ampu«.Multisiierfec"bsauibiis: auxilia contra 
populii romanu coparauinagros rpuiniiacj; ueftto fpulf u depopulatus. 
fn quo uos uictores -exarafcans r An me delete non amirtaduettebaris 
decern habere legiones populu romanii: ' qtw no folum nobis obftftere t 
fed etiam cd una dituere poffent.Q_uarum laudibus & uirtuw 

CAII IVLII CAESAklS COMMENTARIES BELLI GALLTCI 
CIVILIS POMPEl'ANI ; ALEXANDRINI t AFRICi ": AC HIS 
PANIENSIS NICOLA VS IEKSON GALLTCVS VENET1TS 
FELIOTER IMPRESSIT. M.CCCC.L.XXT. 



Courtesy of the Newberry Library 

Fig. 39 Printed at Venice by Nicolas Jenson 



ART IN PRINTING 99 

the middle of the page and the space below is 
consequently foreshortened. 

The ink used in printing should be adapted to 
the paper. There is a great difference in the char- 
acter of even the black inks. A sample of paper 
and the color of ink desired sent to the ink-maker 
will bring ink of the proper tone and consistency 
and reduce many ordinary pressroom troubles. 

In selecting paper one should take into account 
the skill of the pressman, the kind of work to be 
done, and the style of type to be used. The color, 
opacity, quality, and strength should all be con- 
sidered. A paper with little or no sizing absorbs 
the ink readily and enables the inexperienced 
pressman to do satisfactory work. The presence 
of cuts, whether line or halftone, necessarily 
affects the choice of paper. Heavy type works 
well on coarse, rough-textured stock. Fine hair- 
line type prints to better advantage on wove 
calendered paper. In general, the paper should 
harmonize with the subject under treatment. 
Obviously the quality and style used for an 
evanescent announcement would differ, perhaps 
greatly, from that selected for a dignified, per- 
manent record. 

To sum up: Paginal beauty depends upon a 

text composed in well-designed type, of proper 

measure, evenly spaced, well arranged with correct 

margins, and printed in good ink with a clear and 

8 



100 THE SCHOOL PRINTSHOP 

even impression of the type upon a suitable qual- 
ity and color of paper. 

But what of ornamentation, initial letters (Fig. 
40), illustrations, borders, head- and tail-pieces? 
The page may very properly be decorated, but the 
decoration must be such as to emphasize the 
printing; it must be consistent with the general 
design of the type and in no way attract attention 

^TW%E1 believe that God hath made of 
W * J one blood all nations of men, and 
VJL^ that we are His children, brothers 
and sisters all. We are citizens of the 
United States, and believe our Flag stands 
for self-sacrifice for the good of all the 
people. We want to be true citizens of 
this our city, and therefore will show our 
love for her by our works. 

Chicago does not ask us to die for her 
welfare; she asks us to live for her good, so 
to live and so to act that her government 
may be pure, her officers honest, and every 
home within her boundaries be a place fit 
to grow the best kind of men and women 
to rule over her. 

Mary McTtowell 

Fig. 40. To show the use of an initial letter 





u 




( > 


,-Q 


3 




3 


a 



B 

B 


o 


' — | 


O 






en 

CU 

4-J 


u 

cu 
> 


CO 

CL> 

CO 


CU 

B 

cti 

co 




c 
7) 


ctf 


CU 


M 


<u 


UJ 


U 

CO 

f! 


CD 

4-1 


<U 

X 
CD 


4-» 
4-> 


( ) 









CU 


cti 


UJ 

X 


o 

CO 


c 

> 
"3b 


0) 


UJ 

f-i 
CU 

J£ 


cti 
on 


UJ 

Z 


cti 

4-J 

c 

<U 


o 

4-1 


4-> 

<u 
1 


a 


'1 




UJ 


fl 


cu 


4-1 








co 

"u 


cti 

CO 

<U 


<u 
<u 


CU 


< 


>^ 


<u 


4-J 

n 




<u 
> 






mJ 


4-J 






■n 


<u 


n 


<U 






cti 

a 

cu 

4-> 


c/f 


CU 

CO 

cti 
u 

J3 




4-» 
CO 

o 
a 



101 



102 THE SCHOOL PRINTSHOP 

from the print to itself. Above all, the decoration 
must mean something. The picture must illus- 
trate the subject of the text (Fig. 41). The initial 
letter, the border, the head- and tail-pieces should 
symbolize the context (Fig. 42). As the archi- 
tectural decorator must follow structural lines in 
themselves ornamental, the book illustrator should 
be governed in his design by the form of the type 
page. The type itself also establishes a scale and 
line character of its own, and the illustrator must, 
perforce, choose a line which will range best with 
the type line. He must then proportion the white 
of his drawing so as to render the text distinctive. 
The artist and the printer must unite — in one 
person, as in days of old, or in unity of purpose 
in these days of specialization — to form a homo- 
geneous design, the page. 

The average printer seems to find a squared-up 
initial easier to handle than a large letter of the 
page type, although the latter is always in better 
taste than a stock design " of no particular signifi- 
cance." The correct setting of an initial is not 
altogether a simple matter. It should always 
align with the type line at the bottom as well as 
at the top. The shoulder can be removed when 
necessary to bring the bottom into line with the 
type. The space about the initial should be 
uniformly white, the shoulder determining the 
amount of indention required. Some letters, 





- --flttiufq; Sialic. 
regem in hbrosauihu bellovu ex Appiano Alcxaiv 
drmo in latins] traductos Prefatio l'ncipit felietffime. 

Arcboru regem utabAnneo accept AnneusSenecade 

mas fine mtmete ialutare nemo po' rege pattbotum. 

tele. Ego ueto gioriofifiime rex cum 

cuam umute bumanitatlq: cofidero 

cum ceteras nature dotes:quibus iiv 

teretatis noftre principes uel in pri' 

mi's illuftns es: fublimc ingenium ; 

fiimml Qfitate; lummj continentia 

nulla ratione addudpoffum utnon 
plun'sapudtefidem meaefleexiftimem cj ullas opes. Quip-' 
pe cu te mdigentibus & ueluci e naufragio erneths cji| ignotis 
ofFerre uideam pi'as manus.Cere^. nee fine numere ad te iietu 
n ec uacuis (vt aiunt) mambus tua maieftace Slim adoraturus ■ 
Namcu prunes Appianilibros;Libycum:Syrium: Partbscu 
& Mi'tbridaticu Njcolaoquinto fumo ponem'cidum i bums' 
msagefetegifco tfanftuhiTem,' Rehquos ciuilium bellorum 
comentariosrqiftSenatus.'populufqu'omanus lmticemgcilk 
nundu editos auc perfectos a me ad quern pouus mktet'em q 
ad te Jukhffi me prmceps Hifpam'e. parttet & Italic, noftre dc 
cus:&qinnon mmusoptimarumaitiumfludijs:&littcrisq 
armis l'nclytus es: atqp memorandus. Accipies igi'c nouu opus; 
rsec lndignu regio an t mo : regi'oq; cofpectu tuo.Sed quod cum 
pn'fcis illis uolumi'nibus ab bis.'qm" biftoms fcripiere pofcetv 
tati tradstisi facilcconferriqueat.Q? fim conttarium no nulii 
reft'agentur(ut emu forum moseft)quemudmtexiatinis in 
medium adducant. !IueCnfpu:faieCe.{arem:ikieCurtiam; Crtfpu 
fiue alt'a uulgata doelroru nomina; eoru : qui biftonas fenpie/ Gefar. 
runt* nullosex bis: qui cum ckulibus Appiam'iibnscontern Cura'u 



Nkolaus papa qafiv 
Libycas, (tus. 
Syrius. 
Parthicus, 
Mitbridackus. 




Courtesy of the Newberry Library 

Fig. 42. A Ratdolt Border 



103 



104 THE SCHOOL PRINTSHOP 

such as A when beginning a word, should always 
be mortised, while the appearance of letters like 
T and Y is improved by indenting the text lines 
below the initial so that they align with the bottom 
of the initial rather than with the top (Fig. 43). 
This makes the initial project somewhat to the 
left and causes the appearance of an alignment 
of the initial with the text. 

THAT thing which I understand 
by real art is the expression by 
man of his pleasure in labor. I do 
not believe he can be happy in his 
labor without expressing that happi- 
ness; and especially is this so when 
he is at work at anything in which 

he specially excels. 

William Morris 

Fig. 43. To show the use of "J"" as an initial letter 

What has been said about the sort of line and the 
relation of black and white properly applies also to 
borders. The width of the border should be pro- 
portioned to the width of the page margins, increas- 
ing from the binding side to- the tail (Fig. 44). 

The best examples of borders also show a similar 
treatment, on a very small scale, of the white space 




105 



106 THE SCHOOL PRINTSHOP 

which should appear between the border and the 
type mass. 

Whatever applies to other forms of page deco- 
ration applies with equal force to head- and tail- 
pieces. They should agree in design, the tail- 
piece indicating its purpose both by its shape 
and by its position. 

In conclusion: Embellishment of the printed 
page is legitimate and with restraint may be 
effectively used; but the ideal of every young 
printer should be that of the Doves Press: 

To communicate to the imagination without loss by 
the way the thought or image intended to be conveyed 
by the author, — to attempt its solution rather by the 
arrangement of the book as a whole, with due regard 
to its parts and emphasis of its divisions, than by the 
splendor of ornament, intermittent page after page. 

Nicolas Jenson was a Frenchman who from 1460 to 1480 
published books in Venice. In common with all early printers, 
he made his own type, using gothic and the newly invented 
Roman and Greek characters. He designed a beautiful roman 
type, clear and regular, which in 1889 served as a model for 
the Golden Type of William Morris. 

Erhard Ratdolt was also an early Venetian printer, 1476- 
1485. He was among the first printers to print flowered borders 
and initials from woodcuts instead of the rubricated initials pro- 
duced by hand. His work is remarkable for the beauty both 
of its illustrations and of its type. 

The Aldine Press, best known of the early presses, was 
founded at Venice in 1494 by Manutius Aldus. Aldus was a 
scholar as well as a printer, and he printed many Greek 



ART IN PRINTING 107 

books. He also designed italic type, imitating in this the hand- 
writing of Petrarch. His descendants carried on the work after 
his death. The Aldine books bear the sign of the dolphin and 
anchor. 

William Morris, an English artist and craftsman who be- 
lieved that all art should be used for the benefit of humanity, 
founded the Kelmscott Press in London. Influenced by his 
study of early typography, he designed three styles of type 
which he used in his work. His books were lavishly decorated 
with initial letters and borders in keeping with the type. 

The excellence of his work affected printing in both England 
and America. Better styles of type came into use, and many 
other private printing houses with high ideals were established. 
Among these was the Doves Press of Cobden-Sanderson, also in 
London. 

The books printed by the Doves Press are devoid of ornament, 
but the simplicity of design and the perfection of execution 
make them even more attractive to many readers than are the 
Kelmscott books. 



CHAPTER XIII 
HOW TO MAKE ILLUSTRATIONS 

Any boy or girl skilled in handicraft can design 
and make simple illustrations for his own printing- 
In drawing the design the principles of art empha- 
sized in chapter xii should be carefully observed. 
But it is always to be borne in mind that illus- 
trations which are to be reproduced by the children 
themselves in form for printing should contain no 
attempt at gradation of tone — outline work and 
mass drawing only are possible. Head- and tail- 
pieces, silhouettes, and any simple drawing which 
tells a story in a few lines can be easily managed 
and make charming additions to any book. 

Two methods of reproduction, the zinc etching 
and the woodcut, are open to the young illus- 
trator. The woodcut is a ruder form of expres- 
sion, but is none the less effective. Its purpose 
is not to express light and shade, but form. As a 
medium of illustration, wood lends itself well to 
broad lines and masses ; hence, the pupil is advised 
to begin with wood engraving. (See Figs. 45, 46.) 

Commercial engravers generally use boxwood, 
which, owing to the grain of the wood, cuts easily 

108 




THE CENTENNIAL 



CARTER PRACTICE 
SCHOOL JUNE, 1918 



Fig. 45. Cover design for " The Centennial" cut in wood by the 
pupils of the Carter Practice School, Chicago" 

109 




110 



HOW TO MAKE ILLUSTRATIONS 111 

and evenly and is therefore the best wood for 
engraving. But boxwood is imported, it is diffi- 
cult to secure, and it is expensive. Art illustrators 
sometimes draw on pear, apple, or other hard 
woods, especially if the printing is to be done 
directly from the woodcut. Pine cuts well, but 
is soft and can be used only when the cut is to be 
electro typed. Many amateurs select birch, maple, 
or black walnut, all of which can be used. Red 
gum has also proved fairly satisfactory for the 
purpose. The board should first be carefully 
planed to a uniform thickness of 0. 918 inch (type- 
high), and then sawed into pieces of suitable 
size. 

The design may be drawn on paper and trans- 
ferred to the wood, but, if the pupil is reasonably 
skillful, it is more direct to draw at once upon the 
wood. If the picture has a right and a left side, 
the drawing must be done in reverse. This, 
however, is not a difficult thing to do, for by the 
use of tracing paper, which will show the design on 
both sides, and carbon paper, the drawing can be 
traced in reverse on the wood. Pupils can make 
their own carbon by rubbing the back of a piece 
of paper with a crayon pencil. Sometimes the 
artist photographs his picture on the wood. For 
this purpose the wood is covered with a sensitized 
wash and a print made on it in the same manner 
that blueprints are made. 



112 THE SCHOOL PRINTSHOP 

Few tools are needed. The earliest engravers, 
indeed, worked only with a knife. Engravers' 
tools cost from thirty-five cents to one dollar each 
and can be purchased at a jeweler's establishment. 
Usually from two to six tools are enough. All 
lines of the drawing should be carefully cut around 
with a knife or a small veining tool. Then with a 
chisel or gouge the background should be cut out 
deep enough not to print. The result shows the 
design in relief; from this the print is made. 

Young pupils who cannot readily cut in wood 
may obtain similar results with less effort by 
using a piece of battleship linoleum mounted on 
wood, the whole to be type-high. It cuts easily 
and prints very well, although, of course, the grain 
of the wood is lacking (Fig. 47) . 

The woodcut may be locked in the form with 
type and printed on the school press. Commer- 
cial shops do not ordinarily print directly from 
the woodcut, but, as in pages of type for book- 
work, an electroplate is made. This is necessary 
because the action of the large presses in printing 
the immense editions usually required would 
batter down the wood. 

In the making of an etching (Figs. 48, 49) the 
design is placed upon the zinc plate, which is 
usually about one-sixteenth of an inch in thickness. 
With a water- color brush all parts of the design 
which are to be left in relief should be carefully 




\ui 




Fig. 47. Cuts made in linoleum by Robert Harding, sixth 
grade, University Elementary School, Chicago 

113 




Fig. 48. Zinc-etching made by elementary- 
school pupils of the Bloomtngton, 
Illinois, Public School 



114 



HOW TO MAKE ILLUSTRATIONS 115 

painted over with asphalt varnish to resist the 
action of the acid. The back of the metal should 
also be covered with a wash of varnish. The var- 
nish should be applied with great care, no air holes 
should be left, and the varnish line should be 
slightly broader than the line of the drawing. 

When it is perfectly dry the plate should be 
immersed in the acid bath. This consists of a 
solution (10 to 20 per cent) of nitric acid in a 
glass or porcelain tray. The plate should remain 
in the bath until the acid has eaten down the 
parts not covered by the varnish. This will require 
from five to twenty-four hours, depending upon 
the strength of the solution. The plate need 
not remain in the bath continuously. It should 
be taken out at intervals and examined. It may 
require an additional wash of varnish. It may 
be advisable to make a fresh solution of nitric 
acid. Shaking the tray will hasten the etching. 
When the plate is etched deeply enough — that 
is, when the ridges stand up enough for print- 
ing — it should be taken out of the bath and 
the varnish removed. The plate may be heated 
to soften the varnish, and then soaked in tur- 
pentine or kerosene. The varnish can then be 
rubbed off with a soft cloth. 

The plate should be mounted on a block of wood 
by means of small nails. The cut when mounted 
must be exactly type-high. 
9 




Fig. 49. Zinc etching made by elementary- 
school pupils of the Bloomington, Illinois, 
Public School 



116 



CHAPTER XIV 
PAPER 

While all paper is made according to the same 
general plan, various Mendings of the materials 
and modifications of the machinery used enable 
the manufacturers to produce many kinds of paper 
suited to different purposes. Some knowledge 
of the different ways of finishing paper, of the 
qualities that adapt it to a particular use, of the 
size and weight of the sheet or web in which it is 
formed, and of how to order it from the dealer, 
is to the printer indispensable. 

The school printshop will make some use of 
print paper, book paper, writing paper, cover 
paper, and cardboard. 

Print paper is a cheap paper made largely from 
mechanical wood pulp. It is used for printing 
newspapers, cheap magazines, mail-order cata- 
logs, and directories. It usually comes in rolls of 
different widths, the weight varying from 100 to 
1,000 pounds. It is also cut into sheets. 

Book paper, because the work is to be last- 
ing, is of greater importance to the printer than 
other kinds of paper. Antique paper is used for 

117 



118 THE SCHOOL PRINTSHOP 

high-class book work. It is uncalendered — that is, 
not pressed by heated rolls — and has consequently 
a rough surface. It requires more ink to make an 
impression on a rough surface than on a smooth 
one; therefore a large size of type which does not 
easily fill up with ink is better than small type for 
printing on antique paper. It is not well adapted 
to illustrations, except possibly very coarse zinc 
etchings. Fine halftones, unless they are deeply 
engraved and printed by the offset process, cannot 
be printed on its rough surface. For that reason 
books printed on antique paper have their half- 
tones printed on enameled paper and inserted. 

Machine-finish paper is that which has been 
passed over the calender rolls in the paper machine 
in order to smooth and make even the surface. A 
slight calendering gives a medium finish. After 
leaving the paper machine, some paper is extra- 
or super-calendered, that is, run through a stack 
of calenders, which consists of rolls made of steel, 
cotton, or granite, placed one above another. The 
different finishes depend largely upon the partic- 
ular roll it is run over and the number of times 
it passes through the calenders. English-finish 
papers are finished on cotton rolls, not steel. 
Machine-finish book paper offers a good surface 
for small type and for photo-engravings and 
electros. It is used for printing magazines, high- 
class catalogs, and school books. 



PAPER 119 

Enameled or coated paper is obtained by apply- 
ing a veneer of clay, glue, and sizing to the surface 
of machine-finish paper. This is usually done 
when the paper is in the web in a coating fac- 
tory. The paper is run through a box containing 
the coating material, and brushes passing over 
the paper distribute the coating evenly over its 
surface. It is then dried by being passed over 
steam pipes, and from these it passes to the calen- 
dering machine which gives it the gloss. Dull- 
finish coated papers are calendered with felt rolls. 
The process of coating results in a smooth, fine 
surface which is desirable for reproducing the 
finest halftone engravings or color plates. 

A variety of paper comes under the headings of 
writing paper — flat writing paper, bond paper, 
and ledger paper. Writing paper should be 
smooth and hard (but not glazed) for bearing ink. 
High-grade writing paper is used for fancy sta- 
tionery and documents of importance; bond 
paper is used mostly for commercial letterheads, 
envelopes, blanks, and other business stationery. 
Ledger papers are strong in texture and are made 
up into account books and ledgers which must 
withstand the wear of constant use. 

The fibers of which cover papers are made must 
be very strong, for strength and toughness are 
essential to cover papers, which are used to protect 
the inside sheets. Coloring matter for these is 



120 THE SCHOOL PRINTSHOP 

usually put into the pulp. Cover papers are 
thicker than book paper. Sometimes they are 
made so in the pulp; sometimes two sheets 
are put together in the web. Cover paper is sold 
by the pound, or sometimes by the ream (500 
sheets), and may be obtained in any quantity. 

Bond papers and cover papers are finished by 
an entirely different process from that used in 
finishing book papers. They are first made on 
the machine in the antique finish, then cut to 
the desired size, and finished by means of cloth 
placed between the sheets of paper, and pressure. 
Linen or cotton cloth which has the finish desired 
in the paper is used, each sheet of paper being 
covered by a sheet of cloth. These sheets are 
made into a pile (called a book) and then placed 
in a pressing machine and pressed. The design 
of the cloth is thus impressed upon the paper. 

Cardboard is of different thicknesses. It is 
sometimes made to the required thickness when 
run on the machine, sometimes made of layers 
of paper pasted together, as indicated by the 
names two-ply, three-ply, and so on. Pasted card- 
board can be detected from the other kind by 
holding a lighted match to one corner and noting 
whether the layers separate. If they do, the card- 
board is pasted. Cardboard is given a smooth fin- 
ish on both sides. It is used for business cards, 
and other purposes where a stiff board is required. 



PAPER 121 

It is made in many grades and colors and is 
usually priced by the hundred sheets. 

In the manufacture of paper a vegetable size is 
mixed with the pulp in the beater. For book 
paper and cheap writing paper this is sufficient. 
Good grades of writing paper are further sized and 
thus rendered impervious to ink by passing the 
web of paper, after the paper has been formed, 
into a vat of hot animal size — that is, a size made 
from the horns and hoofs of animals. Blotting 
paper is altogether unsized. 

Paper may be laid or wove. Laid paper is 
water-marked paper with heavy lines running 
with the grain and light lines running across. 
Wove paper is made with fine lines running in 
both directions. 

Where possible, paper that is to be used folded 
should be folded with the grain, as it folds more 
easily, looks better, and does not crack so readily 
as when folded across the grain. The grain — that 
is, direction of the fiber — may be determined by 
tearing, as the tear with the fiber is straighter and 
more easily made than that across the grain. 

Book paper comes from the mill in sheets. It 
is made in a web and then cut into sheets. It is 
usually priced by the pound and on the basis 
of ream lots (500 sheets). If less than a full 
package is ordered, the price is more proportion- 
ally than when the full package is taken. 



122 THE SCHOOL PRINTSHOP 

The usual sizes and weights are: 



Size 




Weight 






(Pounds to the Ream) 




24X36 


36 


45 


55 


64 


37 


25X38 


40 


50 


60 


70 


80 


28X42 


50 


62 


74 


86 


99 


32X44 


60 


74 


89 


104 


119 



38 




































. Fig. 50. Showing how to cut a 25X38 sheet of stock into 
6)4, X9}-2 inch pieces without waste 

The various sizes enable one to cut stock with 
a minimum of waste. For instance, if paper 
6^X9^ is to be used, 25X38 will cut exactly 
sixteen pieces without waste (Fig. 50). 

25X38 



4X4 = 16 



PAPER 



123 



The paper is to be 5X7. The stock measures 

24X36. 

24X36 
5X7 
4X5 = 20, with strips of waste 4X36 and 1X20. 

If cut the other way, 

24X36 
7X5 

3X7 = 21, with strips of waste 3X36 and 1 X21. 

This is the better way to cut this sheet. 



44 



°0 
°S3 





15 




15 


10 


4 


<5> 










1 






























IVaste ^ 


<$ 


JVcLste 








30 




14 



Fig. 51. Showing how to cut a 28X44 sheet of stock into 10X15 
inch pieces (less economical way than that shown in Fig. 62) 



The sheet is 28X44. The paper is to be cut 
10X15. The diagrams (Figs. 51, 52) illustrate 
the method of cutting the paper to get the most 
out of a sheet. 



124 



THE SCHOOL PRINTSHOP 



In this case the waste part that is trimmed off 

should be saved for future use. 
« 44 ^ 



10 


10 


10 


10 


4 










1 










Waste cv^ 


15 






15 




^ 


Waste 

30 




14 








Fig. 52. Showing how to cut a 28X44 sheet of stock into 
10X13 inch pieces with least waste 

If print paper is cut into sheets, the usual size 
is 24X36 — 32 pounds to the ream. 

It is sometimes necessary to know the equiva- 
lent weight of one size of paper in a larger or 
smaller size. For instance: 

The stock is 25X38 — 40 pounds. I wish to 
use size 32X44. What weight shall I order? 

38X25—40. 
' 38X25 = 950 square inches. 
32X44=1,408 square inches. 
1,408x40 = 56,320. 
56,320-950 = 59 + . 
Use 60 pounds weight. 
Or stated proportionally: 25X38 : 32X44 :: 40 : 60. 






CHAPTER XV 
SUGGESTIONS TO YOUNG PRINTERS 

The first sections of this chapter are made up 
of suggestions for avoiding common, everyday 
errors. It would not be possible to include all 
such mistakes in one list; hence those which occur 
most frequently are given here. Each pupil is 
advised to keep a notebook for suggestions, hints, 
and "Don'ts," and from time to time to add to 
this list such other mistakes as come to notice. 

The composing-room and press suggestions are 
more or less a summing up of earlier chapters, but 
their importance justifies their repetition here in 
this form. They should be read and re-read until 
the pupil is so familiar with them that he will 
automatically follow them. 

English 

1. Its is the possessive adjective. It's is the 
contraction for it is. 

2. Further means moreover. Farther means at 
a greater distance. 

3. Their is the possessive adjective. There is 
an adverb meaning in that place, or it is an 

125 



126 THE SCHOOL PRINTSHOP 

introductory word; for example, There were giants 
in those days. 

4. A pronoun never requires the possessive sign : 

his, hers, theirs, yours, ours. 

5. Make two words of all right. 

6. Do not confuse already with all ready; nor 
altogether with all together. 

7. Then and than are different words. 

Punctuation 

1. A contraction is not an abbreviation and does 
not require a period. The apostrophe is sufficient : 

weren't hasn't m'f 'g plant 

Ours isn't the same as yours. 

2. The period and the comma are always placed 
inside the quotation marks (see page 86) : 

"A stitch in time saves nine." 

3. The comma is always placed outside the 
parenthesis if the context requires its use: 

The majority of cannas, however, are grown from 
pieces of the roots (rhizomes), each piece having a bud. 

4. The period is placed on the outside of a paren- 
thesis except when the thought within the paren- 
thesis is complete and independent: 

The plant is cucurbitaceous (allied to melons and 
gourds). 

The composing rule has already been described. (See 
page 34.) 



SUGGESTIONS TO YOUNG PRINTERS 127 

The Composing Room 

1. Examine your composing stick occasionally, 
as it may work loose when you are using it. 

2. Keep your case in order. A mixed case 
indicates a poor workman. 

3. If you drop a piece of type on the floor, 
pick it up at once. 

4. Return leads to their proper place. Do not 
leave them at the case or on the stone. 

5. Be careful of all material. A good workman 
takes good care of his tools. 

6. Labor-saving wood furniture must not be 
wet. It will shrink. 

7. When correcting a line which requires 
respacing, do it in the stick and not on the galley. 

8. Do not distribute pi from your hand. Set 
it up in the stick. 

9. Do not use too much ink in taking proofs. 
Try to secure a gray proof. 

10. Do not lay the proof -planer down on the 
stone. It collects dirt in that position. 

11. Have your eye on the particular piece of 
type that you wish to pick up and pick it up 
with the nick toward you, if possible, so that you 
need not turn it in your hand before setting it in 
the stick. 

12. Keep your mouth closed and your mind on 
your work if you would avoid errors. 



128 THE SCHOOL PRINTSHOP 

13. Letter spacing is very unworkmanlike and 
should not be resorted to except in very narrow 
measure. 

14. When it is necessary to increase the spacing 
in a line, do so after the kerned letters, as /, /, 
then after the ascending letters, as b, h, I, then 
after the descending letters, as g, y, and after any 
punctuation marks except the comma. 

15. Never thin-space (space less than a 5-em) 
a line or em-quad it. 

16. Short words require the same sized space 
before them as after them. 

17. Use two commas with the nicks down to 
begin any quote marks; use two apostrophes for 
ending quote marks. 

18. Set B.C. and a.d., a.m. and p.m., in small 
caps without space between them. 

19. The hyphen, the en dash, and the em dash 
are not interchangeable. The hyphen is used 
only in compound words and to indicate the divi- 
sion of a syllable at the end of a line. The en dash 
is seldom used except to connect two dates; for 
example, 1914-1915. The em dash is sometimes 
used in parenthetical expressions, to connect the 
end of the text with the name of the author, 
and it may be used to mark a sudden change in 
a thought or statement. Many writers use it 
instead of other punctuation marks. 



SUGGESTIONS TO YOUNG PRINTERS 129 

20. Do not let the last line of a paragraph con- 
sist of a single short word or syllable. Do not 
begin a page with the last line of a paragraph. 

21. Do not let more than two consecutive lines 
end with punctuation or hyphens. 

22. Set up columns of figures with the decimal 
points in a vertical line. 

23. One line drawn under a word or words in 
the copy means, Set it in italics ; two lines under a 
word or words mean, Set it in small capitals; 
three lines mean, Set it in capitals. A wavy line 
means, Set it in boldface. 

24. Read copy a few words ahead. This enables 
you to grasp the meaning and thus avoid mistakes. 

The Press 

1. See that the press is well oiled before starting. 

2. Note the position of the grippers before 
taking an impression. 

3. Place the sheets of paper lightly against the 
feed gauges. Never touch the printing when 
removing the paper. 

4. In feeding, handle the stock with care. Be 
sure your hands are clean. Grasp the paper 
lightly. Do not draw your thumb and finger 
across the paper. Do not wet your finger with 
your tongue. Use glycerin if your fingers are 
too dry. 



130 THE SCHOOL PRINTSHOP 

5. Never place your hands or feet against any 
part of trie press while it is in motion. 

6. Always stop the press before leaving it, even 
if you are only going to cross the room. A cut 
or quoin falling out would probably break the 
press. 

7. Keep the ink covered; keep the ink knife 
clean. 

8. Be very careful in handling ink not to smear 
it on the outside of the tube or can. 

9. Do not leave the rollers resting on the disk 
or on the type. 

10. Do not leave the rollers dry at night. 
Apply a few drops of oil. 

11. Waste paper should be placed in a waste 
basket, not allowed to accumulate on the floor. 

12. Waste used in washing up the press should 
be kept in a covered metal receptacle. Being 
saturated with benzine, it is easily inflammable. 

13. Do not talk while you are running the press. 
Keep your attention on your work. It is safer. 



APPENDIX FOR TEACHERS 



10 



Let no act be done haphazard, nor other- 
wise than according to the finished rules that 
govern its kind. 

Marcus Aurelius 



APPENDIX FOR TEACHERS 

A. THE VALUE OF PRINTING AS 
AN EDUCATIONAL SUBJECT 

Two views prevail as to the place of printing in 
education. The advocates of vocational training 
believe that printing should be taught in industrial 
classes to such boys as expect to become printers. 
They hold that the purpose of teaching it is to train 
a boy in the technic of the trade, to teach him to 
turn out good printing according to accepted com- 
mercial standards, and to fit him to enter the ranks 
of industry. There are other educators who believe 
that printing is a means to general education; that 
it is a manual-training subject based upon the same 
general principles that underlie all the manual arts, 
and as such it should be taught to all pupils. 

It is upon this latter conception of its purpose that 
the work in the School of Education is based. The 
idea is broad enough in scope to include many of the 
basic demands of vocational training. The pupil who 
learns printing must gain control of his tools. He 
must learn what can and what cannot be done with 
printshop material. He must measure his own work 
by accepted printing standards. In everything but 
speed, which should not figure largely in a school 

133 



134 APPENDIX 

print shop, the work furnishes the training desired by 
the master printer. Furthermore, if the pupil has 
established correct habits of doing his work, if he has 
been so trained that he has nothing to unlearn in the 
shop, the lack of speed may be readily overcome. 
Moreover, the general course, since it is fuller and 
broader, may prove to be a valuable asset to the boy 
who when he has completed his school work chooses 
printing for his life's occupation. 

At some point or other printing touches every 
study and every force in the school. Though it is not 
dependent upon the other subjects in the curriculum 
for its intellectual content, it does make practical 
demands upon the English, the history, the science, 
the mathematics, and the art of the school, and 
in return it reinforces and vitalizes these subjects. 

Something of history should enter into a course in 
printing, for the pupil will have a greater appreciation 
of the industry if he has, for instance, knowledge of 
early methods of bookmaking, if he knows the effect 
upon the world of the invention and development of 
printing. These facts are more significant if taught 
in connection with printing than when learned simply 
as historical facts apart from the shopwork. They 
cause the pupil to think, and lead to such questions as : 
Since China used movable type and invented paper, 
why did she not develop the art of printing? Why 
for twenty years after Coster and Gutenberg did the 
art remain stationary? 

The manufacture of the various materials used by 
the printer (the industrial history of the present) is 



PRINTING AS AN EDUCATIONAL SUBJECT 135 

also full of meaning and interest. Those processes 
arouse many questions which can be answered only, 
by some knowledge of science. What is cellulose? 
What causes the odor that arises when paper is made 
from wood? Why are antimony and tin mixed with 
the lead in making type metal? 

The answers not only help the child to understand 
the process he is studying, but are sometimes of further 
value in teaching him why the article in question— 
type, for instance — requires careful handling. A series 
of readings on the history of printing and on allied 
subjects should form part of the course. The order 
of their arrangement in the course should be deter- 
mined partly by the relation of the topic to the other 
work of the child, and partly by the difficulty of the 
process described. 

Perhaps no subject asks more of art than does 
printing, for into every printing problem comes an 
art problem. The choice of type, the spacing, the 
shape of the type mass, the shape and size of the 
paper, the margins, the decoration of the page, the 
initial letter, all are points to be considered in every 
bit of work done in the shop. The principles of art 
are taught by the art teacher in the art class. These 
same principles as applied to printing are emphasized 
in the printshop when the pupil feels the necessity 
of knowing them in order to apply them. The close 
relation that exists between art and printing, and the 
advantage of receiving the art from another and 
different source, give to the child an added power in 
the application of these principles. 



136 APPENDIX 

In the same manner printing demands a knowledge 
of the fundamentals of English. The pupil realizes 
that he cannot print without that knowledge. He is 
driven to the dictionary to learn how to divide a word, 
or to his manual for some forgotten or never learned 
rule of punctuation. This searching for what he 
wishes to know in order to make direct application of 
it helps the pupil to remember the general rule as well 
as its specific application. To illustrate: A pupil may 
place a period after a title. When asked why, he has 
no particular reason — merely thinks it is customary. 
Then he is questioned as to the rules for the use of 
the period. He may recite them glibly or he may 
refer to his manual. He finds (a) a period is used to 
mark the end of a declarative or an imperative sen- 
tence; (b) a period is used to indicate an abbreviation. 
Clearly the period after the title falls under neither of 
these rules, nor does the special note in his manual 
account for it. Therefore the period does not belong 
there. He is further instructed in the practice of 
to-day by an examination of standard books. In all 
his written and oral work the pupil has been trained 
in the correct use of English forms, but the training 
in the printshop is more effective because failure to 
know the form and apply the rule results in much 
unnecessary work, which the pupil must do in order 
to attain a result which he himself desires to attain. 
In time the pupil forms the habit of using the diction- 
ary; it comes to be a real friend; he spells correctly; 
his use of the mechanics of English becomes automatic. 
He is quick to recognize and correct errors in copy. 



PRINTING AS AN EDUCATIONAL SUBJECT 137 

The mathematical problems are for the most part 
those of measuring, but as they require accuracy they 
are important. The guide pins must be placed 
exactly, or the page is crooked. Spacing cannot be 
reduced to a mathematical basis, as is attempted in 
some schools, for the aim is spacing that appears 
even, and other factors enter into the problem. But 
the pupils are aided in learning the relative sizes of 
spaces and the combinations that may be made with 
them by a drill in fractions, using the spaces as the 
basis for such drill. In the elementary school the 
commercial side of the work should be kept in the 
background, but in the high school the pupil who 
buys paper or cardboard for his work is interested in 
planning the number of pieces he can cut from a given 
sized sheet, and in figuring for himself its cost. 

Printing as construction work makes as strong an 
appeal to girls as it does to boys. This is partly 
because it demands deft fingers rather than special 
manual skill and partly because of its artistic nature. 
The work tends to develop the child's ingenuity, 
because the medium is not flexible. At the same 
time mistakes can be corrected, so that discourage- 
ment does not follow failure. It makes for habits of 
order, carefulness, honesty, directness of purpose, and 
other virtues. It develops initiative in the child and 
satisfies his natural desire to do creative work. 
Withal, it gives a regard for books, an appreciation of 
their artistic worth as well as of their intellectual content. 

Printing is an incentive to social service, for it is 
in its very nature a social occupation. One never 



138 APPENDIX 

prints for the sake of printing — there is always need 
of the output, a product which is rarely if ever made 
for the printer himself. It is done for the home, or 
the school, or the larger life outside the school. To 
print from this motive, to perform an act of social 
usefulness, reacts upon the pupil. If he is producing 
something he knows is really needed in the community, 
he comes to feel himself a necessary part of the com- 
munity. It thus becomes his community, valuable to 
him for what he has put into it. He takes a pride in 
making it good, and in being himself a good citizen 
thereof. Oftentimes by this means an indifferent, 
lawless lad is led to recognize his social responsibilities. 
The printing problems are great enough to engage 
the attention and the efforts of the entire school. 
Cooperation on a piece of work results necessarily in 
Unity. In the printing of a book for some special 
purpose, or a school calendar, or any similar project, 
the other departments of the school bring in their 
contributions to assist in the work. The art teacher 
helps in drawing the illustrations which later may be 
worked out in a zinc etching under the direction of 
the science department, or cut out in wood with the 
aid of the woodworking teacher. The history, the 
geography, and the literature furnish suggestions as 
to content; the library and the museum offer knowl- 
edge. The result is a product of the school. Its 
effect is to bring the workers sympathetically together; 
not to make prominent the work of any individual or 
department, but to use what each child and each 
department can bring to the whole , 



SELECTING EQUIPMENT 139 

B. SELECTING EQUIPMENT 

Since the school printshop differs from the com- 
mercial print shop in its aims and purposes, it should 
differ in its plan of work and in its equipment. The 
shop equipment should accordingly be selected with 
a A^iew to the teaching of printing. Too often is the 
school shop fitted out as a commercial shop; too 
seldom is it recognized that printing has become an 
educational factor in the school. Even in vocational 
or continuation work, which must conform more or 
less to commercial conditions, some concessions must 
be made to the teaching aspects of the subject. Much 
more essential is the adaptation of equipment and 
method to this end in school work with young children. 
This, however, does not debar the selection of a 
practical equipment. 

The number of pupils in the class, the number of 
hours a week which each pupil works, and the age, 
ability, and previous training of the pupils are all to 
be considered when one is deciding upon the quantity 
and the size of type and the variety of faces to be 
purchased. More type will be needed when pupils 
work in groups on alternating days than when the 
same number of pupils work in one group on con- 
secutive days, since in the latter case there is less 
necessity for standing type. A child should use only 
large type for his major work until such time as his 
smaller muscles, which make all the delicate adjust- 
ments, shall have developed. Steady work with small 
type tends to injure the eyes and to be harmful to the 
nervous system. The custom which now prevails in 



140 APPENDIX 

many schools of giving 10-point as body type is to 
be deprecated. For general work elementary-school 
pupils will find 14-point more satisfactory in the first 
composition. 

There is much to be said in favor of pupils doing 
their early work with few type faces. The cases are 
more easily kept in order, which is an important con- 
sideration when different classes use the same cases. 
Also, when the child is working with few rather than 
many type faces, he learns the possibilities and the 
limitations of printing materials, his power to think 
develops better, and his taste improves more rapidly. 
Certainly more artistic results are secured by requiring 
the pupil to choose his type within narrow limits. 
Good work does not require a variety of type faces, 
popular opinion to the contrary. Some of the most 
pleasing designs in the shops of today are worked out 
with but one series of type. William Morris himself 
used but three. Of course, as the pupil advances in 
knowledge and skill, and as his work becomes more 
refined, other type faces may.be added to the original 
equipment, but any type selected "should be free from 
hair lines. Text letters are not recommended for 
general use, as they are confusing even to experienced 
printers. 

The character of the work which should be done 
by printing classes should be determined by the grade 
of pupils, by their ages, and by their previous training. 
The selection should not be influenced by the kind of 
work done in the commercial printshops, nor by the 
financial needs of the school. For pupils to solicit 



SELECTING EQUIPMENT 141 

work which properly belongs to the neighborhood 
printer in order to earn money for the school is, to 
say the least, unwise. The reduction in prices, possible 
because no account is taken of overhead expenses, and 
because the value of the pupils' time is not ordinarily 
reckoned in dollars and cents, works a hardship to 
the printing trade and also brings about opposition 
to the school printshop from that very source which 
should bring to this work efficient aid and cooperation. 
The work chosen should be adapted to the worker. 
It should be a job that interests him, that presents 
itself to him as a problem, but it should not be of such 
difficulty that it demands the teacher's attention at 
every step of the process. The point cannot be over- 
emphasized that in public schools the work must be 
chosen and the equipment selected with a view to 
the fact that printing is a class exercise and classes 
are likely to be large. These considerations naturally 
bar out some types of printing needed in the school; 
but no one expects the manual-training classes to do 
all the carpentry of a school, and there should be 
the same frank recognition of the limitations of the 
printshop. The equipment should be selected with a 
view to such work as the pupils can do with profit to 
themselves. Furthermore, all work should be barred 
which does not have a distinct social value recog- 
nizable by the pupil who does the work. 

It is almost a truism to say that the equipment 
must accord with the amount of money available. 
Yet with a small amount of money there is still a 
choice to be exercised. If a full initial equipment is 



142 APPENDIX 

not possible, it is advisable to start with properly 
selected essentials, which can be added to later as the 
use of the shop increases and as the teacher sees the 
need. Aside from the question of money, it is a good 
rule to buy what is needed only when it is needed. 
This habit acts as a check to the tendency to fill up 
the shop with non-usable material. 

The following list is suggested as a workable equip- 
ment for an ordinary school printshop: 

An 8X12 New Series Chandler & Price Job Press com- 
plete with throw-off treadle, 3 chases, a set of cast 
rollers, a set of extra stocks, and a wrench 

Roman type, either 12-point or 14-point (according to 
the grade of pupils), in 20-pound fonts, one font for 
every two pupils in the group 

5 -pound quads and spaces for each 20-pound font of type 

One font each, roman and italic, of the series selected, 
in the following sizes: 6-point, 8-point, 10-point, 
12-point. 14-point, 18-point, 24-point 

Quads and spaces for each of the above sizes 

A 5-pound font of 2-point rule (light face), 2-point rule 
(full face), and 6-point rule (1 -point face, beveled 
on side). These may be used to form plain borders 

Buckeye composing sticks (one for each pupil in the 
the group) 

One galley for each pupil, 634*24 

One galley rack 

One brayer 

One hickory mallet, 23^X43^ 

One proof -planer 

One imposing stone 

Case stands 

California job cases, two for each 20-pound font of type 



SELECTING EQUIPMENT 143 

Three one-quarter size rule cases 

A paper cutter 

One Eureka lead and slug case 

100 pounds 2-point leads cut labor-saving from 4 to 25 ems 

50 pounds 6-point slugs cut same 

20 pounds labor-saving metal furniture 

One case wooden furniture 

10 yards assorted reglet 

A planer 

An oil can 

One dozen challenge Hempel quoins, No. 1 

A quoin key, No. 1 

One safety benzine can 

1 pound black ink 

Three cans concentrated lye 

A lye brush with handle 

A benzine brush 

10 pounds waste 

One dozen pica rulers 

A metal safety waste box 

Paper for press, cut to size of press: 

1. Manila paper 

2. Cardboard 

3. Print paper 

The first and greatest expenditure will be for the 
press. The one suggested is durable and does not easily 
get out of order. It can be bought in various sizes, but 
an 8x12 chase can be handled by elementary-school 
pupils and is at the same time large enough for most 
high-school jobs. A small hand press, which will do 
good work, costs much less, but there are limitations 
to the work that can be done on it. A rebuilt press 
can be bought at a reduction, but is not advised unless 



144 APPENDIX 

that is the only condition under which printing can 
be established in the school. Such a press rarely 
gives satisfaction. It is usually a press out of date; 
accordingly parts that may be broken cannot be 
replaced. Since a press is part of the permanent 
equipment of the school, it should be purchased with 
the idea of permanency. If, later, additional presses 
are needed, the job press, of the size and kind sug- 
gested, will still be useful, hence will not be discarded 
(see page 58). 

The kind, size, and quantity of type form the next 
important item. Type is not permanent; it wears 
down with use and must be frequently replaced. The 
best printer cannot turn out good work with poor type. 
It is therefore mistaken economy to buy used type. 
Whatever else must be bought second-hand, let it not 
be type. A good roman face should be selected, a 
face that is not too extended or "fat" — such type as 
will space easily. Enough should be bought for the 
entire class. The different sizes of the series chosen 
will enable the pupils to secure variety without resort- 
ing to the use of different and frequently inharmonious 
faces in the same piece of work. It is essential that 
each pupil in the class shall have enough type to work 
with. Idleness breeds disorder, and disorder means 
slack work. There is a widespread fallacy among 
school children (perhaps not confined to them) that 
work with the hands is dissociated from work with 
the head. Insufficient material fosters this idea. 
Proper equipment tends to keep each pupil at work 
in an orderly manner. 



SELECTING EQUIPMENT 145 

Various forms of sticks are on the market. The 
simplest form is the best to use in school, the size of 
the stick depending upon the size of the hand that 
holds it. The two-inch stick is not too large for the 
smallest child. As many sticks should be provided 
as there are pupils in the group. Every stick may not 
be in use all the time, but each pupil should be able 
to secure a stick whenever he requires one. Patent 
sticks, that is, those which automatically clamp at 
em and en measurements, are not recommended, as 
they tend to make the pupil inaccurate. 

An imposing stone (Fig. 53) can be purchased, 
mounted upon a cabinet containing sort drawers, letter 
boards, chase racks, furniture, reglet, and tool drawers. 
It is very convenient, providing places for the many 
things needed by the stoneman. These cabinets vary 
in price. They do away with the necessity for buying 
other pressroom belongings and they prolong the 
usefulness of many articles by making it possible for 
them to be taken care of properly. If, however, not 
much money can be spent for a stone, one mounted 
on a frame containing one drawer can be bought at 
a low price; or, if this is too expensive, an unmounted 
stone, which can be placed on a common deal table, 
costs even less. 

Cabinets or stands to contain cases of type are now 
made in various styles and at varying prices. One 
of the best arrangements for a school is found in the 
American School Printshop compositor's stand and 
desk (Fig. 54) . This is an individual case stand, lower 
than the stands made for men, with the top arranged 



146 



APPENDIX 





Courtesy of the American Type Founders Company 



FlG. 53. Imposing stone 

a. Storage side 

b. Materials side 



SELECTING EQUIPMENT 



147 



to hold a California job case, a galley, a small rule 
or border case, and a lead and slug case. This places 
all material at hand for the compositor. The rack 
below holds ten full-size cases. The stand is also pro- 
vided with a drawer to contain books, notebooks, or 
other such material. A galley for unfinished work 
also finds place in it. A writing board can be put in 
one of the racks , and thus the pupil can write or draw 
without leaving his position at the case. 




Courtesy of the American Type Founders Company 



FIG. 54. American School Printshop 
compositor' s stand 



11 



148 



APPENDIX 



If the appropriation will not cover such expenditures, 
cheaper case stands can be purchased. Closed cabi- 
nets, containing 
only cases, can be 
bought at a reason- 
able price. They 
are neat in appear- 
ance and keep the 
type free from dust. 
If these are used, 
tables or open-case 
stands must also be 
provided to hold 
the cases when 
pupils are at work. 
Double open-case 
stands are much 
cheaper than closed 
cabinets. When 
they are not in use, 
the dust can be 
kept out by cover- 
ing the type with 
cardboard covers 
which may also 
serve as drying 
boards. The ordi- 
nary case stands are 
too high for the 
average pupil. 
They may be lowered by cutting the legs, or, better 
still, a number of platforms of different heights, on 




Courtesy of the American Type Founders Company 

Fig. 55. Boston staple binder 



SELECTING EQUIPMENT 



149 



which pupils may stand, can be made in the manual- 
training room. The type may be laid in a combina- 
tion job case with blank cases for the small caps. 
Each case should contain 10 pounds of type and 2^ 
pounds of quads and spaces. 




Courtesy of the Challenge Machinery Company 

Fig. 56. Advance paper cutter 
A paper cutter, like the press, is a permanent invest- 
ment, and none should be purchased that is not ade- 
quate for all purposes (Fig. 56) . A 23-inch cutter will 



150 APPENDIX 

answer the purpose of the majority of schools. Until 
a large-size cutter can be bought, it is better to buy 
stock cut to the desired size. The cost of cutting is 
but a trifle. A paper and card cutter can be used to 
trim cards and paper. 




Courtesy of Horace Hacker Company 

Fig. 57. Poco proof-press 

The cost of the equipment will vary according to 
the place and time at which it is bought and in pro- 
portion to the quantity purchased at one time. It 
is better, on the whole, to select the most reliable 
house and to make all purchases from one firm. The 
expense can be materially reduced if the cases, case 
stands, frames, tables, cabinets, and other wood fur- 
nishings can be made in the school manual-training 
shops. 



SELECTING EQUIPMENT 151 

If the expenditure is not limited, the following 
articles, which will be found very desirable, should also 
be purchased: 

Motor 

Steel chases 

Boston staple binder on pedestal (see Fig. 55, page 148) 

Proof-press (Fig. 57) 

2-point labor-saving rules 

12X23^2 composing sticks 

Composing rules in case 

Copper and brass thin spaces (all sizes) 

Brass galleys 

Cabinet (for pressroom) 

Cabinet for cuts 

Stock cabinets (paper and cardboard) 

Sample cabinets (paper samples) 

Bookcases for printshop literature 

Hooks to contain copy (for each group) 

Exhibit case (to show class work mounted on cards) 

vScreen (on which to pin samples of work) 

Scrapbook (to hold samples) 

Stereopticon, with slides 

In some schools each child who takes printing is 
required to present a written statement signed by the 
parent absolving the school from responsibility for 
any accident that may occur. This protects the 
school, but not the child. A better and wiser way for 
the school — and this cannot be too strongly empha- 
sized — is to provide the pupil with equipment so safe 
that he cannot possibly hurt himself. In addition to 
the constant watchfulness of the teacher, the following 



152 APPENDIX 

devices should be included in all school printing outfits : 
Platen guard for all Chandler & Price presses 
Fly-wheel guard 

Gear and pinion guard combined 
Motor bracket with driving pulley 

American job-press brake, cast iron, for all sizes, new or 
old series 

SUGGESTIONS FOR THE PRINTSHOP LIBRARY 

Aldis, Harry G. The Printed Book. 
American Type Founders' Catalogue. 
Bouchot, Henri. The Printed Book. 
Davenport, Cyril. The Book: Its Development. 
DeVinne, Theodore. The Invention of Printing (1878). 

. Correct Composition. 

— . Modern Book Composition. 

. Plain Printing Types. 

. Title Pages. 

Dictionary, Unabridged. 

Duff, E. Gordon. Early Printed Books. 

Graphic Arts. 

Gress, Edmund G. The Art and Practice of Typography. 

Henry, Frank S. Printing for School and Shop. 

Hitchcock, Frederick H. Building the Book. 

Inland Printer. 

Johnston, Edward. Writing and Illuminating and Lettering. 

Manual of Style of the University of Chicago Press. 

Printing Art. 

Roberts, W. Printers' Marks. 

Smith, Adele Millicent. Printing and Writing Materials. 

Stewart, A. A. The Features of a Printed Book. 

. School of Printing Leaflets. 

Books of the Typographic Technical Series for Appren- 
tices. 
Woolley, Edward. Handbook of Composition. 



ARRANGEMENT OF PRINTING ROOMS 153 

C. THE ARRANGEMENT OF PRINTING ROOMS 

Every teacher must decide the arrangement of his 
shop according to the space allotted for the work, the 
size of the equipment, and the number in his class. 
But the ordinary print shop arrangement of alleys is 
not ideal for a schoolroom. The instruction naturally 
divides itself into three parts: classroom instruction, 
work in composition, and presswork. It. is most 
economical to arrange the shop with these in view. 

General classroom work consists of drawing (making 
designs, planning a layout, and similar work), painting 
(combinations of colors), reading lessons on printshop 
work, and mathematical computations. These require 
the use of a blackboard and desks at which the children 
can draw, write, or read. 

The composing room requires space for case stands, 
galley racks, table for tying up type, copy-hooks on 
which the class may leave the copy when it is not in 
use, and wall space in which hooks or brads can be 
driven for holding the sticks. This room should be 
well lighted with both natural and artificial light. 

In either the classroom or the composing room there 
should be a bookcase containing a dictionary, a manual 
of style, Woolley's Handbook of Composition, and 
other reference books. There should be a^collection of 
lantern slides with stereopticon or projection machine 
and pictures illustrating both the present and the 
past history of printing and its allied occupations. 
Space should be provided for a cork wall or a cloth 
screen on which samples of good work may be placed. 
A scrapbook to contain specimens of good commercial 



154 APPENDIX 

printing is extremely useful. A cabinet, in which 
mounted cards of work can be kept free from dust, 
and yet which can always be opened to show the 
cards, should be in every print shop. Complete files 
of work should always be kept, with extra copies for 
mounting or to be used as printshop samples. 

The pressroom should have abundance of light. 
It contains the press, the imposing stone, ink cabinets, 
stock cabinets, paper cutters, and all the things needed 
for the stone- and pressmen. A large cutter should 
not be operated by elementary-school pupils. 



OUTLINE OF COURSE IN PRINTING 155 

D. OUTLINE OF COURSE IN PRINTING IN THE 
ELEMENTARY AND HIGH SCHOOLS OF THE 
SCHOOL OF EDUCATION OF THE UNIVERSITY 
OF CHICAGO IN 1916-1917 

Elementary instruction begins the last semester of 
the fifth grade. The pupils are young to take up 
printing, but their great interest in it and the results 
attained in the past make the plan worth continuing. 
The classes meet two hours per week. The work is 
continued for the same period of time through the 
sixth and seventh grades and is required of both boys 
and girls. 

Printing is not a required study in the high school, 
but it may be elected under the same conditions as 
hold in other shop courses. Pupils choosing this 
subject work five hours per week. 

The shop is adequately equipped with an 8X12 
Chandler & Price Gordon job press, a 16-inch paper 
cutter, sixteen case stands, sufficient Caslon type of all 
sizes for the regular work of the classes, with enough 
type of other styles to enable the pupils to do any 
extra work desired. There are also imposing stones, 
cabinets, and all the smaller objects usually to be 
found in printshops. (See Appendix B.) 

In all classes excursions and projected pictures are 
used as sources of information. The excursions may 
be visits to modern printshops, engraving establish- 
ments, paper mills, type foundries, libraries, museums, 
or any other source of first-hand information upon 
printing or its allied industries. The slides and pic- 
tures convey information which cannot otherwise be 



156 APPENDIX 

secured. The pupils are encouraged to add to the 
collections already started of materials used in paper 
making, type casting, and other industries connected 
with printing. 

Any pupil who has followed the work outlined for 
the fifth, sixth, and seventh grades should, at the close 
of the seventh year, be familiar with the history of 
printing and know what can be done with printing 
materials. He should know what constitutes good 
printing. He should be able to design and present 
in graphic form a plan for printing such simple work 
as appears in the course and should have sufficient 
skill to carry out that plan. 

Elementary School 
fifth grade 

The first step is to learn the case, which may occupy 
the time of three or even four lessons, depending upon 
the individual pupil. He could commit to memory 
the lay of the case in less time, but it is better for him 
to acquire some skill in handling the type and in reading 
it upside down while he is at the same time memorizing 
the case. He should be occupied with the type from 
the very first lesson and will not find learning the case 
an irksome task. The result of this method shows in 
the efficiency of his first composition. 

Poetry is best for the first work, because poetry 
presents fewer problems of justification than prose 
does and is simpler for the child. The order of all 
the technical work should be determined, first, by the 
difficulty it presents to the child, and, second, by its 



OUTLINE OF COURSE IN PRINTING 157 

dependence upon some other topic. The fifth-grade 
pupil cannot work rapidly, and, if given a whole poem 
to set up, would fail to get it done in time for use. 
But the attitude of children of this age toward their 
work makes it possible for a group to combine on one 
poem. This plan is repeated until a child becomes 
skillful enough to work alone, when he may set up an 
entire poem. 

Work on poems fills the greater part of the com- 
position time. Late in the course a little prose is 
introduced, consisting of first-grade reading lessons, 
which are written in one-sentence paragraphs, or 
responsive readings of the Psalms, or other work 
similar in form. 

When the work in composition is well under way, 
about the middle of the course, presswork begins. 
This is very closely supervised. No fifth-grade pupil 
is ever permitted to run the press unless the teacher 
is giving him full attention. This means, then, that 
the instruction is given to the class, one child after 
another working the press while the rest of the class 
observe. 

In the topics assigned for fifth-grade reading the 
printing teacher has the assistance of the grade teacher, 
who cooperates in every way possible. The work is 
correlated with the study of medieval history. 

The work in art in the fifth, as in the other grades, 
is done partly by the art teacher and partly by the 
printing teacher. The art problems suggested grow 
directly out of the printing work. They are met, in 
a general way, as follows: If the problem belongs 



158 APPENDIX 

to the entire class at the same time, it is discussed 
by the art teacher in the art period. If it is an indi- 
vidual problem, it is taken up by the printing teacher. 

Outline 
I. Learning the case: 

a. Exercise in paper folding preparatory to drawing and 
learning the case 

b. Drawing type case to scale 

c. Setting up the letters in each box 

From this exercise should result : 

1. Proper standing position 

2. Correct holding of the stick 

3. Knowledge of the lay of the case 

4. Knowing the type — its parts 

5. Ability to read the type upside down 

6. Recognition of spaces by sight and by touch 

7. Some skill in handling type 

II. Setting type: 

The drill secured while learning the case enables the 
pupil to work with intelligence and with a degree of 
skill in even his first attempts at composition. The first 
work is done with 18-point and 14-point type; later 
12-point may be used. The work consists of setting up : 

a. Poems of short lines 

b. Prose consisting of reading lessons for the first grade 
which occur in one-sentence paragraphs 

c. Verse — arranged on a card 

d. Spelling list — this grade is preparing a spelling book 
to consist of words used in its own grade work 

Through these exercises the pupil learns: 
1. Even spacing between words 



OUTLINE OF COURSE IN PRINTING 159 

2. The filling out of an uncompleted line with 
quads and spaces 

3. Indention — the alignment of riming lines 

4. The use of leads 

5. The pica as a unit of measurement 

6. The point system 

7. Method of tying up type and handling type masses 

8. Proofreaders' marks; how to mark a proof and 
correct mistakes in the type 

III. Feeding the press: 

The pupils in this grade handle sheets of paper not 
larger than 63^X93^ inches. They also feed cards, 
using a thimble made of sandpaper. The pupils may 
observe the processes of locking up and making ready 
The pupils themselves execute only the following steps: 

a. Putting the chase into the press 

b. Feeding the single sheets — a steady, direct move- 
ment is required 

c. Taking out the chase, washing the type, and putting 
away the furniture and chase 

IV. Special work on the school magazine: 

a. Setting up centered titles and running heads 

b. Folding and assembling the printed sheets and sewing 
the magazines 

V. Reading: 

Articles on the following topics have been prepared 
by the printing teacher: 

a. Early Methods of Keeping Records 

b. The Work of the Scribes and Monks 

c. Block Books 

d. The Story of Gutenberg 



160 APPENDIX 

e. Laurence Coster 

/. Benjamin Franklin as a Printer 

VI. Art: 

Emphasis laid on the following points : 

a. Harmony of shape between the type mass and the 
paper 

b. Placement of the type mass on the page; the width 
of margins 

c. Arrangement of cards, Christmas. Easter, valentine, 
or birthday 

d. Drawings for the school magazine 

SIXTH GRADE 

The instruction given in this grade is partly oral 
and partly from printed directions. 1 As new points 
come up they are explained by the teacher to the 
class. Later, if any child meets a difficulty, he is 
given individual help. If, however, the difficulty 
seems general, the assistance is given to all the class 
together. As the work improves, printed directions 
are used. The printed work follows the oral expla- 
nation. For instance, in locking up, the teacher 
first gives a demonstration accompanied by an oral 
explanation of the process. After that the pupils are 
expected to lock up their work, following the printed 
directions. 

The time devoted to composition in this grade is 
about equally divided between setting up prose and 
poetry. 

1 Pending the completion of this book, printed directions 
were prepared for the class. 



OUTLINE OF COURSE IN PRINTING 161 

The pupils work enough on the press to acquire 
skill, printing all their own compositions and doing a 
part of the presswork for the fifth grade. 

As the reading in this grade correlates more directly 
with science than with history, it is done in cooperation 
with the science teacher. 

The work begun in the fifth grade continues through- 
out the sixth grade, with the emphasis placed upon 
the added topics indicated in the following: 

Outline 
I. Composition: 

The work is done with 12-point type, but there may 
be occasional use of other sizes if the work demands it. 

a. Practice is given in setting: 

1. Poetry — such poems as are needed in any depart- 
ment of the school or any a pupil desires to print 

2. Prose — one or more paragraphs of any required 
matter may be set up; this grade composes many 
simple announcements, such as notices for parents' 
meetings, invitations, office hours for the admin- 
istrative officers, and work of similar character 

b. Practice is given in taking proofs: 

The pupils take proofs of their work after they 
have corrected all the mistakes they can see in the 
type. They mark the proof according to accepted 
proofreaders' marks and make the necessary changes 
in the type. 

II. Presswork: 

a. Locking up — this consists of single pages, locked 
under direction 

b. Feeding the press — the sheets may be the full size 
of the press (8X12) 



162 APPENDIX 

c. Removing the chase and cleaning the type prepara- 
tory to distributing 

d. Cleaning and oiling the press — this is done only 
under the teacher's direction 

III. Distribution of type: 

The distribution begins in this grade, taking up one 
line at a time. When the pupil has become skillful he 
handles more than one line. 

IV. Special work on the school magazine: 

a. Setting table of contents 

b. Assisting with the presswork 

c. Folding and sewing 

V. Reading: 

Articles prepared by the teacher for reading in this 
grade consist of: 

a. A Medieval Library 

b. Foundry-cast Type 

c. How Magazine Illustrations Are Made. Photo- 
Engraving and Wood Engraving 

d. Paper Making, Ancient and Modern 

VI. Art: 

a. Making of a layout for work to be done 

b. Designs of simple units for cards or for the school 
magazine; how the line of the drawing affects the 
tone harmony of the print 

c. Freehand lettering and spacing, single words and 
notices 

d. Visits to collections of medieval manuscripts 

e. Study of examples of fine printing, both ancient and 
modern 

/. Collection of pictures which illustrate early methods 
of making books 



OUTLINE OF COURSE IN PRINTING 163 

SEVENTH GRADE 

The seventh grade uses the printed directions. 
These pupils work quite independently, requiring very 
little other instruction. 

The composition time is mainly devoted to prose, 
a class or a group working together upon some work to 
be arranged in a booklet. This may be a club consti- 
tution or industrial, geographical, or historical reading 
prepared for the use of some grade. 

The poetry set up is usually a collection made into 
a booklet. In some cases the composition is done in 
the lower grades, the seventh grade making up the 
forms and printing them. 

An average of two lessons a month is spent in reading 
on the topics indicated in the outlines. Information 
on similar topics is secured by outside work. The 
English teacher assigns for theme work such topics 
as: 

The Beginnings of Writing 

Cursive and Book Hand 

Early Illuminations 

Cuneiform 

The Book of Kells 

Cadmus 

Hittite Writing 

The Plantin Museum 

William Morris as a Printer 

Block Books, etc. 

Each pupil prints his own theme and distributes it 
to the class, thus sharing the knowledge he has 
acquired. 

12 



164 APPENDIX 

Instruction in this grade centers upon prose com- 
position and presswork. 

Outline 
I. Composition: 

The regular work is done with 12-point or 10-point 
type. Other sizes are used as it becomes necessary. 

a. Poetry: 

Besides printing any poems needed in the school, 
this grade prints booklets of original verse. 

b. Prose: 

Refinement of spacing begins to show in the 
seventh grade. The prose work is presented through 
a variety of problems, among them reading lessons 
for other grades, programs, letterheads, cards requir- 
ing the use of horizontal rules, initial letters, original 
plays, and calendars. 

II. Presswork: 

There is great advance in the presswork in this 
grade. The pupils show an interest in the press as a 
machine. This interest is utilized by the science teacher 
in the work on mechanics. The pupils print their own 
compositions and part of the fifth-grade work, carrying 
on the following processes: 

a. Locking up 

b. Making ready 

c. Feeding 

d. Washing type 

e. Cleaning the press 

III. Distribution: 

The pupils not only distribute their own dead type, 
but help in the work of the younger pupils. Printed 
directions are given them. 



OUTLINE OF COURSE IN PRINTING 165 

IV. Work on the school magazine: 

This grade has charge of the editorial and business 
management of the School Reporter, as well as the work 
in composition. Pupils from other grades assist in the 
composition, but this class then concludes the work, 
which consists of: 

a. Setting the editorial page 

b. Making up pages 

c. Taking page proofs and making a "dummy" 

d. Presswork 

V. Reading: 

The reading for this grade is prepared as for the 
previous grades. The special topics are: 

a. The Press — Platen and Cylinder 

b. Composition of Ink 

c. How Rollers Are Made 

d. Machine Composition — Linotype and Monotype 

e. The Printing of a Modern Newspaper 

VI. Art: 

a. Making a layout for any job attempted 

b. Planning a booklet of original verse or prose 

c. Study of title pages 

d. Drawing units and cutting them in wood for use on 
cards or booklets 

e. Making zinc plates 

f. Setting an initial letter 

g. Printing in colors 

h. Freehand lettering; space and letter short quotation, 
using a large initial 

i. Arranging a cover design involving the use of a deco- 
rative unit 

j. Studying harmony of tone; upon what it depends 



166 APPENDIX 

High School 

The high-school pupils electing this subject have 
heretofore fallen into two classes: those who have 
previously studied printing in the elementary school 
and those who are just beginning the work. 

The outline which follows is designed for the latter 
class. The pupils who know something of the subject 
continue the work done in the grades, but with more 
independence of thought and action and more refine- 
ment of method. 

Correct spacing (apparently even) is demanded. The 
pupils plan work of increasing difficulty. Imposition 
of more than two pages and some tabular composition 
have been done. Border work and the use of color 
in printing are steps in advance. 

Much more leeway in the selection of his work is 
permitted the high-school student than is granted to 
the pupil in the grades. This is possible because the 
high-school student himself feels a definite need for 
printing certain things. His work is largely personal. 
He wants a copy of his club constitution, he requires 
tickets and programs for his class entertainments, he 
wishes cards or notices to advertise some private inter- 
est, or he collects his own writings and puts them forth 
in artistic form. He chooses, within limits, the thing 
he wishes to print, plans his layout, makes his own 
decorations, selects the type, the color of ink, and 
paper of such color and quality as he considers suitable. 
He confers with the various teachers concerned, 
getting whatever, assistance he requires to do the work 
he has planned. His standard of result is high because 



OUTLINE OP COURSE IN PRINTING 167 

the work is for himself or his fellows and will come 
under their judgment. 

It is the office of the teacher to pass upon the suita- 
bility of the work chosen, its degree of difficulty, its 
value as a means of increasing the pupil's knowledge 
and skill in printing. It is the teacher's work to 
criticise, to suggest improvements, and through the 
pupil's need and desire to know a particular detail 
to bring to his knowledge the general principles under- 
lying the work. 

Outline 

1. The case 

a. Lay of type 

b. Correct posture of body 

2. The point system 

3. Type families 

4. Straight -matter composition: 

a. Spaces, quads, leads, and slugs 

b. Indention, rules for English as applied in the shop 

c. Correction of errors 

5. Proofreaders' marks 

6. Margins 

7. Paging 

8. Elementary imposition 

9. Tabular composition 

10. Borders; ornaments 

11. Principles of design as applied to printing 

12. Press work 

13. Study of paper 

14. Illustrations 

15. Use of color in printing 



168 APPENDIX 

E. WHAT TO PRINT IN THE SCHOOL 
PRINTSHOP 

Two considerations must enter into the choice of 
what to select for printing: first, the use to be made 
of the matter printed; next, the difficulty of the process 
relative to both the skill of the pupil and the limita- 
tions of the shop equipment. The printing of a 
poem is the simplest job for a beginner. Having 
learned the case, he has in his first poem but to place 
the three-to-em spaces between the words and fill out 
the line with quads and spaces. The indention of the 
riming lines, the leading between the stanzas, and 
the arrangement of the title are all more or less simple 
steps in the work. 

This may be followed by the setting-up of a prose 
paragraph, which is more complicated because the 
process of justification enters into it. It is necessary 
to spend much time upon this part of the work, as 
it is the basis of all good printing. When one can 
space prose well, he has acquired control of his mate- 
rials and can readily learn all the possible arrange- 
ments of type. 

Before attempting to print a card such as a Christ- 
mas, Easter, or birthday card, or valentine, the pupil 
should always make a design for it. He should work 
out in his mind a clear image of type of definite size 
and style, arranged in a mass of good proportions 
and placed on paper with correct margins. He should 
then project this image in a plan (a layout), either 
a card printed by hand (Fig. 58), or a simple pencil 
sketch on the card (Fig. 59) ; or a mass of colored paper 



WHAT TO PRINT 



169 



may be cut out and pasted on the card (Fig. 60) . With 
this realized thought in his mind he can set up his 



AUTUMN 
Ofvoloriouus autumn! 

You are best of all the year, 
Even in the sprina 

I wish tkat you were here. 

^7 



Fig. 58 



o 



Fig. 59 

verse and take a proof. Comparing his proof and his 
plan, he is able to revise his first arrangement (see 
Fig. 61, page 170; Figs. 62 and 63, page 171). 

If the composition is to be inclosed by a border, 
the type should be set first, and so set that in both its 



170 



APPENDIX 



vertical and its horizontal direction it measures exactly 
an integral number of picas or nonpareils. The border 
will then fit around the type mass. 




Fig. 60 























fO 


4vo-i~x*X„ C^<ri^Xj^\. *Q C&, 


cA 



FIG. 61. Layout 

In the use of an initial letter the directions given in 
chapter xii (pages 102 f.) should be followed. If the 
initial is to be printed in a different color from the rest 



WHAT TO PRINT 



171 



of the card, the letter should be removed and its place 
filled by a blank. After the card has been printed, 









3 mill honour Christmas in 
mv brart, ano trp to beep 
it all the pear. Sitfeens 

Christmas $rrr1ino.a 

Kalbrrtnr {lath 











Fig. 62. Proof 



3f totll fjonour Cfjrtsitma* in 
mp fjeart, ano trp to keep 
it all tfje pear. mbtn* 

Christmas greeting* Catherine Clarfc 



Fig. 63. Result 

Type used, Cloister Black, 18-point, 12-point, and 10-point sizes. 
12-point border. Printed in blue, on a brown card. 

the blank should be taken out and the initial letter 
put into its proper place in the composition. The 



172 APPENDIX 

dead type should then be taken from the chase, and 
furniture put into the place it occupied. The press 
should be carefully washed and inked with the color 
desired and the cards again run through, feeding to 
the original guide pins. The pupil should be restricted 
in the use of colors. An initial in a different color 
is not satisfactory unless the initial is ornamental. 
Several colored letters at intervals on a field of black 
usually result in a spotty appearance. 

If it is necessary to print a job containing rules, it 
is better to set all the vertical lines in one composition 
and all the horizontal lines in another composition 
and then lock both so that they will register when the 
form is printed. The lines then do not appear broken 
in the print and the rollers are less likely to be cut. 

Booklets of original verse or an original play are 
interesting copy, and the possibility that one's work 
may be put into print is always an incentive to attempt 
to write both prose and verse. The length and width 
of the type page should be decided and a dummy of 
the booklet made. In the printing of verse, where 
the measure necessarily varies, each poem should be 
centered under the running head, the top margin of 
each page remaining always the same. Two pages 
should be locked together; for example, 1 and 4, 2 
and 3. 

The printing of a school paper is a project which 
more than any other makes for unity in the school. 
It reacts upon and coordinates the entire curriculum 
and is in itself a problem great enough to engage the 
energies of all departments. It not only connects 



WHAT TO PRINT 173 

school life with outside life in a way that children 
can understand, but sets up standards of accomplish- 
ment which must be met. 

The pupils should provide the copy and make their 
own illustrations. If possible, all the work should be 
their own. If printing classes meet often enough, 
they can set all the type. In schools whose printing 
classes do not meet daily, part of the work — setting 
straight matter — can be done outside, and the pupils 
can set the titles, signatures, and running heads, make 
up the pages, and do the presswork, folding, assem- 
bling, and sewing. This allows time for other work and 
does not confine the class to one kind of problem. 

The following list is made from the printshop file 
of an elementary school and may be suggestive: 

I. For use in the school: 
Admission tickets 
Announcements of all kinds 
Calendars 
Candy recipes 
Club constitutions 

Collections of original poems (booklets) 
Cooking recipes 
Invitations 
Labels 

Library cards 
Menus 

Mothers' club announcements, etc. 
Outlines of work 
Phonic lists 
Plays (original) 
Poems (for literature classes) 



174 APPENDIX 

Programs 

Reading lessons (for grades) 

Report blanks 

School paper 

Shop cards 

Words to songs (for music classes) 

II. For use in the home or the community 
Billheads 
Business cards 
Church services 
Illustrations of various kinds 
Letterheads 
Shopping cards 

Social-settlement announcements 
Sunday-school programs 

III. For personal use: 
Birthday cards 
Blotters 

Christmas cards 
Easter cards 

Favorite poems or sentiments 
Letterheads 

One's own compositions 
Valentines 



WHAT TO PRINT 175 

F. SAMPLES OF WORK ACTUALLY DONE 
IN SCHOOL PRINTSHOPS 

On the following pages are shown samples of type 
matter and illustrations designed and printed by 
pupils in classes of printing — in large part by elemen- 
tary-school pupils in the School of Education. These 
samples have been chosen from work in present and 
past years. They have been selected from various 
booklets, collections of poems, club constitutions, 
plays, and the School Reporter. 

In some cases the pupils wrote the articles as class 
work assigned by the English teacher, in others the 
writing was due to the pupils' own initiative. The 
type was set up and printed in the printing classes. 

The drawings for the illustrations likewise were 
made some as a class exercise in the art class, some in 
the printing class, and others are the work of individ- 
ual pupils. The greater number were drawn under the 
direction of the art teachers. All the drawings here 
represented were reproduced in zinc plates by the 
commercial engraver. The grammar-grade pupils did 
the printing, but the drawings represent the work of 
all grades. 

The Elementary School magazine, the School Reporter 
from which so many of the illustrations are taken, is 
the work of the pupils from the first to the seventh 
grade inclusive. It has been entirely self-supporting 
in the thirteen years of its existence, carrying always 
a bank balance large enough to provide for a year's 
expense. It is published quarterly at a subscription 
price of fifty-cents a year (the only income) , and aver- 
ages from twenty to twenty-eight pages a number. 



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Cover design for the "School Reporter," published by the 
University Elementary School of the University of Chicago 

178 



THE SCHOOL 
REPORTER 

OF THE 

UNIVERSITY ELEMENTARY SCHOOL 



Volume XIII No. 2 1917-8 



DEDICATION 

To the former students of the Elementary School, 
now in the service of our country, who, we feel are 
doing much for us, we take pride in dedicating this 
Service Number of the School Reporter. 

We are proud of this Roll of Honor; because we 
think perhaps some of the lessons these boys learned 
in our school are helping them in their efforts both 
here and "over there." Mingled with our pride is 
a determination to make ourselves worth the sacrifice 
they are now making for us. 

We want, to do something, however small, to help 
in this great struggle. This is the spirit in which we 
have taken up this Service Work. We are devoting 
this number to a description of what we have done, 
not because the total is great, but rather because it is 
small ; for being small it may encourage others to 
make like attempts. 

It is regretted that the following list which contains 
many of their names cannot at this time be made 
complete. The Editor-in-Chief 



A page from the "School Reporter' 

179 
13 



Constitution and By-Laws 

The Girls' Club 

of the 

University High School 




The School of Education Print Shop 
1917 



180 



ARTICLE 10. Amendments 

Amendments to this constitution may be made by 
handing a written statement of the proposed amend- 
ments signed by ten members of the executive 
board, or by twenty-five members of the club at 
large, to the secretary or to the president. Said officer 
shall accordingly bring the matter up at the next 
board meeting, but it shall not be voted upon until 
the meeting after the one at which the proposed 
amendment is read. 

BY LAWS 

1: The Dean, the president, the secretary, 
parent members and faculty advisors of the execu- 
tive board shall not be allowed to vote, except in 
the case of a tie, when the president shall be 
allowed to cast the deciding ballot. Said members 
of the executive board shall not make or second 
motions, but shall be wholly limited to suggestions. 

2 : These by-laws may be amended, at any 
time, by the vote of the majority of the quorum of 
the executive board. 

3 : The executive committee shall rfleet not 
later than the Thursday before any regular or special 
meeting of the executive board — the exact time of 
meeting to be left to the discretion of the commit- 
tee — for purpose of discussion of all business to be 
brought up at the next executive board meeting. 



A page from pamphlet title page of which is shown on opposite page 
181 



Christmas Cxercise* ot tfje 
Uutoersitp (Elementary g>ci)ool 




$ rifcap, December 22 2:00 p.m. 
ittanbel $all 



182 



&ob &egt £ou Jtterry, Gentlemen 

Cfte aubienee in inbiteb to join 
in tfce stinging of tfcis song 

4lob rest you merry, gentlemen, 

Het noting you bitmap, 
Remember Cbriat our &abior 

3Has born on Cbristmas Bay, 
Zo fiabe us all from Cbil's! potoer 
^aaijen toe mere gone astray; 
0, tibings of comfort anb joy, 
Comfort anb joy, 
<P, tibtngs of comfort anb joy. 

jf rom #ob our ^eabenly jfatfjer, 

S bleaseb angel came; 
&nb unto certain g>bepberbs 

Prougbt tibinga of tije game: 
$oto tbat in Jgetblebem mass born 
Htt)z son of <&ob by name. 
©, tibingss of comfort anb joy, 
Comfort anb joy, 
0, tibings of comfort anb joy. 



A page from program cover of which is shown on opposite page 
183 



«*r >^v 




THE HONOR OF YOUR PRES- 
ENCE IS REQUESTED AT THE 

FIFTH COMPETITIVE 
GYMNASTIC DRILL 

BETWEEN THE FRESHMAN 
AND SOPHOMORE GIRLS 



AT THE 

UNIVERSITY HIGH SCHOOL GYMNA- 
SIUM, FRIDAY, MARCH 7, 1913, 8 P.M. 



184 



PROGRAM 

1. Freshman Drill and Apparatus Work 

2. Sophomore Dancing 

3. Games 

a. Dodge Ball 

b. Basket Ball Relay 

c. Nevvcombe 

4. Sophomore Drill and Apparatus Work 

5. Freshman Dancing 

6. Basket Ball Game, Juniors vs. Seniors 

SCORE 



March and Run 

Possible 10 Points 
Floor Work 
Possible 40 points 
Apparatus Work 
Possible 20 Points 
Gymnastic Dancing 
Possible 20 Points 
Games 
Possible 10 Points 

Total 



Freshman 


Sophomore 























A page from program cover of which is shown on opposite page 



185 



FANCIES IN VERSE 

WRITTEN AND PRINTED 
BY LOUISE REDFIELD 
SEVENTH GRADE U. E. S. 



THE PRINT SHOP 
THE SCHOOL OF EDUCATION 

1913 



186 



THE RULERS OF DAY 
AND NIGHT 

The sun is the golden ruler 
Of the day so clear and bright, 

His throne is the blue, blue heaven, 
His crown is of dewdrops light. 

His servants are flashing sunrays, 

His cloud steeds ride through the sky, 

But at evening he sinks from his kingdom 
And the moon mounts up on high. 

Her robe is of starlight splendor, 

Her sceptre a comet's tail. 
Her servants are stars bright and twinkling 

And moonbeams soft and pale. 

Her coach drawn by fiery comets 
Is a shimmering mass of light; 

There's a glorious battle of rivalry 
'Tvvixt the rulers of day and night. 



A page from booklet title page of which is shown on opposite page 



187 



14 ORIGINAL VERSES 



THE WORLD'S EASTER BONNET 

The lovely world has a new Easter bonnet, 
With daffodils, tulips and crocuses on it; 
The streams are blue ribbons to twine it around, 
And its straw is the beautiful grassy ground. 
The trees are its plumes, so feathery and tall, 
And the clouds make a veil to spread over it all. 

Mary Warren 



EASTER LILIES 

See the Easter lilies! 
O, how fair they grow, 
Swinging in the breezes 
Dancing to and fro. 
Tall and white and slender 
The lilies stand! 

Winslovv Leavitt 



A page from booklet title page of which is shown on opposite page 



188 



ORIGINAL VERSES 

BY THE THIRD AND 

FOURTH GRADES 

OF THE UNIVERSITY 

ELEMENTARY SCHOOL 



THE PRINT SHOP 

THE SCHOOL OF EDUCATION 

1913 



189 



The Trolls' Christmas 

Dramatized and played by the Third 
Grade in 1909. Printed by the same 
children in the Seventh Grade in 1913 




THE PRINT SHOP 

THE SCHOOL OF EDUCATION 

1913 



190 



SCENE II 

In a forest. Darkness all around. Snow on the 

ground and trees. 

Action : St. Nicholas enters with two children. 

St. Nicholas 
Here you are. I must go, for I have other 
business to do. 

Action: St. Nicholas leaves them. Lottie is cry- 
ing. 

Axel 
Don't cry, Lottie. 

Lottie 
Axel, where are we? Wolves are heard howl- 
ing. What is that sound ? 

Axel 
Oh, it's the wolves howling! 

Lottie 
I am so frightened. What shall we do? 

Axel 
Let us see if we can find a house. 

Lottie 
Oh, I am so tired. 

Axel 
Look, Lottie, I think I see a cave over there 
in the rocks. Come, let us go and see. It 



A page from booklet title page of which is shown on opposite page 



191 



FAIRY LYRICS 

SELECTED AND ILLUSTRATED 

BY 

THE THIRD GRADE 




PRINTED AND BOUND BY THE EIGHTH GRADE 

OF 

THE ELEMENTARY SCHOOL 



THE UNIVERSITY OF CHICAGO 
MDCCCCIX 



192 




193 



THE DRAWING 
OFTHESWORD 



A COMMUNITY BALLAD WRITTEN BY 
THE SEVENTH AND EIGHTH GRADES 
THE UNIVERSITY ELEMENTARY SCHOOL 



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194 




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195 



14 




196 





Illustrations for Puritan poems 



197 






Illustrations for Puritan poems 



198 




Postal card {colored) 




Unit for cover page 



199 





Units for cover pages of the "School Reporter 1 



200 





Units for cover pages of the " School Reporter' 



201 





Units for cover pages of the ' ' School Reporter ' 



202 




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Cover design for the ' ' School Reporter ' 



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Unit for cover page of Girls' Club Constitution 
204 



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University Elementary School 
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Tail-pieces — University Elementary School 
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212 



GLOSSARY 

Alignment. — -Arrangement in a line. When two or 
more different sizes of type are justified so that their 
faces line at the bottom, they are said to align. 

Antique finish. — A rough surface on paper. 

Arabic numbers. — The ten figures 1, 2, 3, 4, 5, 6, 7, 
8, 9, 0. They are supposed to have originated in 
Arabia. 

Ascending letters. — -b, d,f, h, I, t, those that ascend 
to the upper shoulder of the type body. 

Backing. — Printing the second page of a leaf. 

Bale. — An iron band on the tympan used to hold 
down the tympan sheets. 

Beard. — The slope between the face and the upper 
surface of the body. See Fig. 1, p. 3. 

Bearers. — Strips of metal, type-high, placed at the 
ends of the chase to bear off impressions evenly and to 
carry rollers evenly over the form. 

Black-letter. — See Text. 

Body. — That part of the type between the face and 
the feet. See Fig. 1, p. 3. 

Body-mark. — See Stem. 

Bold. — Anything that stands out heavily. Black- 
face or heavy-face type is called bold. 

213 



214 GLOSSARY 

Brayer. — A small hand roller used to distribute ink; 
it is used to ink the type in taking hand proofs. 

Break-line. — The last line of a paragraph when it 
contains a blank space. 

Calendered. — A term applied to paper thatjhas been 
smoothed by the calender stacks and thus given a 
polished surface. 

Cap. — The abbreviation for a capital letter. 

Case. — A receptacle for type divided into compart- 
ments or boxes so that there is a box for each character 
in a font of type. 

Case stand. — A light wooden frame made to support 
the news case. 

Chase. — The iron frame in which the type is locked. 

Clean proof. — A proof that is practically free from 
errors. 

Coated paper. — A highly enameled paper, which 
comes in a glossy or dull finish. 

Composing room. — A room where type is set up or 
composed and made up into forms for printing. 

Composing rule. — A metal strip used in composing. 

Composing stick. — A shallow metal tray which the 
compositor holds in his left hand when setting type. 

'Composition. — The branch of printing which con- 
sists of setting up type, correcting it, and making up 
ready for the press. See chap. iv. 

Compositor. — A typesetter. 

Condensed. — Said of type that is narrow in pro- 
portion to its height. 

Copy. — The written words or drawings from which 
the printer works. 



GLOSSARY 215 

Correcting. — Alterations made in type. 
Counter. — The depression between the lines of a 
face. See Fig. 1, p. 3. 

Cut. — A name used by printers to designate a 
blocked engraving. 

Cut-in. — A note set into the side of a reading margin. 

Cylinder press. — A printing press consisting of a 
flat bed, a cylinder, and an automatic inking device. 
The type form is locked on the bed, which moves 
back and forth beneath the rotating cylinder, the 
sheet being held on the cylinder while the impression 
is being taken. 

Dead. — Type matter that has been printed. When 
the form has been used, it is killed — therefore dead, 
and ready for distribution. 

Delete.— Take out. 

Descending letters. — Letters that have down strokes; 
g and y are descending letters. 

Dirty proof. — One that has many errors. 

Disk. — The round ink plate on the platen press. 

Distribution. — Returning type to the proper cases; 
used also of spreading ink evenly over the rollers. 

Doublet. — A word or words repeated. 

Dummy. — Pages put together to show plan of a 
proposed book or booklet. 

Em. — The square of any type body as unit of 
measurement. 

En. — One-half of an em. 

Expanded. — Said of type that is wide in proportion 
to its height. 

Face. — That part of the type which appears in 



216 GLOSSARY 

relief on the end of the type and which when inked 
leaves the impression on the printed surface. 

Feeder.— The one who feeds the paper to the print- 
ing press. 

Feed guides or gauges. — The pins or quads fastened 
to the tympan which guide the feeder in placing the 
paper. 

Feet. — The end of the metal opposite the face is 
usually grooved by the machine in casting. This 
makes two projections called the feet. The term is 
applied to the end opposite the face even when the 
groove is omitted. 

Folio. — A sheet of paper folded in two leaves. 

Font. — An assortment of one size and face of type. 

Form. — A page or a number of pages locked in the 
chase ready for the press. 

Foul case. — One in which the type is mixed. 

Furniture. — Pieces of wood or metal fitted around 
the type form to fill in the blank space in a chase. 

Galley. — A shallow metal or wooden tray with 
three perpendicular sides made to hold the type when 
it is taken from the composing stick. 

Galley rack. — A case with open compartments made 
to hold galleys. 

Gothic. — The name given to a type face which is 
usually square in outline and devoid of serifs. This 
is a gothic letter: T. 

Guide pins. — See Feed gauges. 

Grippers. — On a job press the iron bars which take 
the sheet off the form after the impression has been 
made. 



GLOSSARY 217 

Hair line. — The fine line connecting the stem or 
body-marks. See Fig. 1, p. 3. 

Halftone. — A photo-engraved plate consisting of 
dots of varying sizes uniformly placed, capable of 
rendering not only high lights and shadows of a picture, 
but all the intermediate or half tones. 

High-to-paper. — Said of type cast higher than the 
standard height, 0.918 inch. 

Imposing stone. — The stone or iron table upon 
which a form is locked ready for press. 

Imposition. — Arranging the pages or jobs in the 
chase. See chap. vii. 

Imprint. — The name or mark which the printer or 
publisher affixes to his work. 

Indention. — A form of spacing used principally to 
mark the beginning of paragraphs. 

Initials. — Large letters used at the beginning of chap- 
ters or of main sections of books or jobs of any kind. 

Ink. — A combination of pigment, varnish, drier, 
and other materials. 

Italic. — A sloping type face. 

Job press. — Any printing press used for printing 
jobs, not books, etc. 

Justification.— The spacing out of lines to proper 
tightness. 

Kern. — That part of the letter which sometimes 
projects over the side of the body, as in / or /. 

Kill. — To eliminate copy or composed type. 

Layout. — A working diagram of a job, showing 
general grouping of the job and specifying kinds and 
sizes of type to be used. 



218 GLOSSARY 

Leads. — Strips of metal used between lines of type. 

Leaded matter. — Type which has leads between the 
lines. 

Ligatures. — Two or more letters tied together and 
cast on one body — ffi, fi, ffl, ff, fl, etc. 

Line cuts or line engravings. — A photo-engraving in 
which the various parts are represented in lines, and 
not broken up into half tones as in a halftone. 

Live matter. — Composed matter not printed. 

Locking up. — Tightening the quoins in the chase 
so as to hold the mass of type in place. See chap. vi. 

Logotypes. — Two or more words cast on one body; 
for example, bought of, rec'd of, etc. 

Lower case. — The name applied to the small letters. 
Also the lower of a pair of type cases. 

Low-to-paper. — Said of type that is cast lower than 
the standard height, 0.918 inch. 

Making ready. — Preparing the form on the press 
for printing — underlaying, overlaying, setting guides, 
etc. 

Making up. — Arranging type into pages, with run- 
ning heads, etc. 

Mallet. — A wooden head with a handle. 

Margin. — The space around the printed matter on 
a page. 

Matter. — Composed type. 

Measure. — The width the composing stick is set. 

Mortise. — To cut out part of the type for the 
purpose of inserting a letter. 

Neck. — See Beard. 

News case. — See Case. 



GLOSSARY 219 

Nick. — A shallow groove on the front of the body 
near the feet, for the purpose of guiding the com- 
positor. Type is set with the nicks up. 

Off its feet. — Said of type that does not stand 
squarely on its feet. 

Offset. — The rubbing or smutting of a freshly 
printed sheet. 

Offset process. — A method of printing by which 
the ink is offset on a. rubber blanket instead of directly 
upon the paper. 

Out. — One or more words omitted by mistake in 
composition. 

Overlay. — Paper put on the tympan to give more 
impression to part of the form. 

Overrun. — To change the position of composed 
type by moving backward or forward when correcting. 

Page cord.- — String used in tying up pages. 

Pi. — Mixed type. 

Pica. — 12-point size of type. The pica em is used 
as the standard of measurement. 

Pin-mark. — A small circle indented in the side of 
the body near the face to designate the foundry at 
which the type is cast. See Fig. 1, p. 3. 

Planer. — A smooth wooden block used to level the 
type in the form. 

Platen. — That part of a job printing press on which 
the make-ready, tympan, and guides are placed and 
on which the sheet takes the impression from the type. 

Platen press. — One that gives the impression from 
a flat surface. 

Point. — The unit of the American point system. 



220 GLOSSARY 

It is one-twelfth of the pica — 0.013837 inch, to be 
exact — or, for practical purposes, one seventy-second 
of an inch. 

Point system. — The system of casting type bodies 
in some multiple of a unit called a point. 

Printing press.— Any of numerous machines for 
making printed impressions on paper, board, tin, etc., 
from an inked surface. 

Proof. — A printed impression taken for the purpose 
of making corrections. 

Proof -planer. — A smooth wooden block covered with 
felt. It is used in taking proofs. 

Proof-press. — A press used exclusively for taking 
proofs. 

Quadrats or quads. — Metal blanks used to fill out 
spaces. 

Quoins. — Wedges used in pairs to lock up forms. 

Quoin key. — A metal device for tightening quoins. 

Reglet. — Thin strips of wood, 6 points and 12 points 
in thickness, used in locking up forms. 

Revise. — A second proof, taken after the corrections 
marked on the first proof have been made. 

Roller. — An iron rod covered with composition, used 
to distribute ink on the type. 

Running head. — The title of a book, chapter, or 
subject placed at the top of each page. 

Score. — To crease heavy paper on the press so that 
it will fold easily. 

Serif. — The fine, cross line put in as a finish to 
unconnected lines in a letter. See Fig. 1, p. 3. 

Shank. — See Body. 



GLOSSARY 221 

Shoulder. — The margin between the bottom of a 
letter and the outer edge of the body. See Fig. 1, 
p. 3. 

Single-leaded. — Type having one lead between the 
lines is said to be single-leaded. 

Sizing. — A gelatinous material used in paper making. 

Slug. — A lead 6 points or more in thickness. 

Small caps. — Capital letters of a smaller size than 
the regular capitals of a font. They are usually about 
the same height of face as the lower-case m. 

Solid. — Type without leads between the lines is 
said to be solid. 

Sorts. — The letters in the boxes of a case. 

Spaces. — Pieces of metal about four-fifths of the 
height of type and of varying thickness. See chap. iii. 

Stem. — The thick line of the face of the letter. It 
is sometimes called the body-mark or the thick-stroke. 
See Fig. 1, p. 3. 

Stick. — See Composing stick. 

Stoneman. — The man who imposes and locks up 
the forms. 

Tail margin. — The margin at the bottom of the page. 

Take. — The part of copy taken at one time by a 
compositor. 

Thick-stroke. — See Stem. 

Turn for sorts. — To place a piece of type face down 
in place of a letter that is missing. 

Tympan. — The covering of the platen or cylinder 
for printing. 

Type gauge. — A wood or metal ruler graduated in 
picas or in type sizes, used for measuring the width of 
page or the number of lines in a piece of matter. 



222 GLOSSARY 

Type-high. — The standard height of type, 0.918 
inch. 

Underlay. — A piece of paper or card placed under 
the type or cut to increase the impression. 

Wide-leaded. — Type having more than one lead 
between the lines is said to be wide-leaded. 

Work-and-turn. — The method of printing a full form 
on one side of a sheet and then turning it over and 
printing the same form in the other side. 

Wrong font. — Letters of one series mixed with 
another. 



THE INDEX 



[Page numbers referring to illustrations are designated by the abbreviation 
"ill." in parentheses. For definitions, see Glossary, pages 213-222.] 



Aldine Press, 97 (ill.), 106 
Aldus, 106 

American point system, 5 
Apostrophe, use of, 82 
Appendix for teachers, 133- 

212 
Art as related to course in 

printing, 135 
Art in printing, 92-107 

essentials of, 93 

how to attain, 94 

Beard, 2 
Black letter, 10 
Body, 1 
Body-mark, 2 
Borders, 102 

Morris, 105 (ill.) 

Ratdolt, 103 (ill.) 

use of, 104 
Brackets, use of, 83 

Cabinets, 145 

closed, 14 
Calendering, 118 
California job case, 16 (ill.), 

17 
Capital letters, rules for use 

of, 87 
Capitals and small capitals, 

rules for use of, 90 
Caps, 12 

Carbon, how to make, 111 
Cardboard, 120 
Case: 

arrangement of, 12 

California, 16 (ill.), 17 

learning the, 12-21 

Yankee, 17, 18 (ill.) 
Case stand, 12 
Chase, 45, 48 (ill.) 
Cobden-Sanderson, 32, 107 
Colon, use of, 78 
Comma, use of, 75 



Composing room: 
rules for, 127 
arrangement of, 153-154 

Composing rule, 34 (and ill.) 

Composing stick, 33 (and ill.), 
145 
method of holding, 19 (ill.), 

21 
method of removing type 
from, 36 (ill.), 37 

Composition, 33 

directions for, 33-41 

Compositor's stands, 145, 147 
(ill.) 

"Condensed" type, 5 

Construction work in course 
in printing, 137 

Correcting a line, 41 

Corrections, making, 44 

Counter, 2 

Course in printing, in Ele- 
mentary and High Schools 
of the School of Education 
of the University of Chicago, 
155-167 

Cut, resistance of a, 61 

Dash, use of, 81 
Decoration, 100 
Distribution of type, 66 (ill.), 

67-69, 68 (ill.) 
Division of words, rules for, 83 
Doves Press, 31 (ill.), 32, 106, 

107 

Em quad, 22 

Ems, to find the number in 
composed type, 70 

English, 73-91, 125 

as related to course in print- 
ing, 136 

En quad, 22, 24 

Equipment for school print- 
shop, 139-152 



223 



224 



THE INDEX 



Equipment for school print- 
shop {continued) : 
cost of, 150 
list of, 142, 151, 152 

Exclamation point, use of, 74 

"Expanded" type, 5 

Face, 1 

Feeding the press, 63 (ill.), 64 

directions for, 64 
Feet, 1 

Five-to-em space, 23, 24 
Folio: 

half-sheet imposition for, 53 

sheetwise imposition for, 52 
Font, 7 

Four-to-em space, 23, 24 
Furniture, arrangement in 

chase, 47, 48 (ill.), 49 

Galley, 37 (and ill.) 
Glossary, 213-222 
Gothic, 10 
Guide lines, drawing of, 62 

Hair line, 2 
Hair space, 23 

Head-pieces, use of, 102, 106 
Hyphen, use of, 81 

Illustrations, how to make, 

108-116 
Imposing stone, 45, 145, 146 

(ill.) 
Imposition, 51-57 

for quarto, 53, 54 (and ill.) 

half-sheet for folio, 53 (and 
ill.) 

half-sheet for quarto, 54 
(and ill.) 

sheetwise for folio, 52 (and 
ill.) 

sheetwise for quarto, 54 (ill.) 
Indention, 30 

hanging, 32 

inverted pyramid, 32 

paragraph, 31 

squared, 32 
Initial letters, use of, 102, 170 
Ink, 99 
Interrogation point, use of, 74 



Italics, rules for use of, 90 
Italic type, 10 

•Jenson, Nicolas, 98 (ill.), 106 
Justification, 35 

Kelmscott Press, 107 
Kern, 2 

Layout, 94, 168, 170 (ill.) 
Leading, rules for, 30 
Leads, 25 (and ill.), 29 

sizes used between lines, 26 
Library, suggestions for a 

printshop, 152 
Ligatures, 7 

Linoleum cuts, 112, 113 (ill.) 
Locking up, 45-50 

arrangement of furniture 
for, 57 

method of, 46 (ill.), 48 (ill.) 
Lower case, arrangement of, 

13, 14, 15 (ill.) 

Making ready, 60 
Mallet, 40 (and ill.) 
Manufacture as related to 

course in printing, 134 
Manuscript, to find the num- 
ber of pages of composed 

type in, 71 
Margins, size of, 97 

Aldine, 97 (ill.) 

for a card, 95 (ill.), 101 (ill.) 

Jenson, 98 (ill.) 
Mathematics as related to 

course in printing, 137 
Measuring, 70-72 
Morris, William, 30, 32, 105 

(ill.), 106, 107 

Neck, 2 

News case. See Case 

Nicks, purpose of, 1 

Overlay, 61 

Pages : 

to find number of pounds 
of type required for, 72 

to find the number a manu- 
script will make, 71 



THE INDEX 



225 



Paginal beauty, elements of, 99 
Pannartz, 8 
Paper, 117-124 

antique, 117 

bond, 120 

book, 117 

coated, 119 

cover, 119 

cutting stock, 122 (and ill.), 
123 (and ill.), 124 (and ill.) 

enameled, 119 

laid, 121 

machine-finish, 118 

selection of, 99 

sizes and weights of book 
paper, 122 

sizing for finishing, 121 

wove, 121 

writing, 119 
Paper cutter, 149 (and ill.) 
Paragraph sign, 32 
Parenthesis, use of marks of, 81 
Period, use of, 73 
Petrarch, 107 
Pica, length of, 5 
Pin-mark, 2 

Planer, how to use, 40, 49 
Platen, 59 
Point, 5 

measure of, 6 

size of, 6 (ill.) 
Point system, American, 5 
Press, 58 (ill.), 59-65, 143 

applying ink to, 59 

care of, 59 

cleaning, 64 

feeding the, 63 (ill.), 64 

rules for, 129 
Printers, suggestions to young, 

125-130 
Printing : 

art in, 92-107 

as construction work, 137 

as related to other courses 
in the curriculum, 134 

course in the Elementary 
and High Schools of the 
School of Education of the 



Universitv of Chicago, 
155-167 
value of, as an educational 
subject, 133-138 
Printing rooms, arrangement 

of, 153-154 
Proof -planer, 40 (and ill.), 49 
Proof-press, 150 (ill.) 
Proofreading, 43-44 
Proofreader's marks, 42 (ill.) 
Proofs, how to take, 40 
Punctuation, rules for, 73-83, 
126 

Quads, 22 (and ill.), 23 (ill.) 

Quarto : 

half -sheet imposition for, 54 
sheetwise imposition for, 54 

Quoin, 47 (ill.) 

how to place, 47, 49 

Quoin key, 47 (ill.) 

Quotation marks, use of, 78 

Ratdolt, Erhard, 103 (ill)., 106 
Reglets, how to place, 47, 49 
Revise, 44 
Rollers, care of, 59 

summer, 65 
Roman type, 8 
Rules: 

for capital letters, 87 

for capitals and small capi- 
tals, 90 

for the composing room, 127 

for composition, 33 

for distribution, 67 

for division of words, 83 

for English, 73, 125 

for imposition, 51 

for italics, 90 

for learning the case, 19 

for locking up, 45 

for measuring, 70 

for the press, 129 

for punctuation, 73, 126 

for spacing, 26 

for spelling, 85 

for young printers, 125 
Rules, how to print, 172 



226 



THE INDEX 



Safety devices, 152 

School paper, printing of, 172 

School printshop: 

character of work to be 
done in, 140, 173 

equipment for, 139-152 

samples of work done in, 
175-212 

type for, 144 

what to print in, 168-174 
Semicolon, use of, 77 
Serif, 2 

Setting type, method of, 21, 33 
Shank, 1 
Shoulder, 2 
Single-leaded type, 29 
Sixteen-page form, arrange- 
ment of pages in, 56 (ill.) 
Slugs, 25 (ill.), 26 
Small caps, 12 
Social service as related to 

course in printing, 137 
Solid type, 29 
Spaces,^ (and ill.), 23 (and ill.) 

distribution of, 68 
Spacing, 22-32 

rules for, 26 
Spelling, rules for, 85 
Stands, 145, 147 (ill.) 
Staple binder, 148 (ill.) 
Stem, 2 
Stick, 33 (and ill.), 145 

method of holding, 19 (ill.), 
21 

method of removing type 
from, 36 (ill.), 37 
Suggestions to young printers, 

125-130 
Summer rollers, 65 
Sweynheim, 8 



Tail-pieces, use of, 102, 106 
Text, 10 
Thick space, 23 
Thick-stroke, 2 
Thin space, 23 
Three-em quad, 22 
Three-to-em space, 23, 24 



Trimming, allowance for waste 

in, 57 
Two-em quad, 22 
Tying up type, method of, 38 

(ill.), 39 
Tympan, 59 
Type: 

depth of, 4, 6 

description of, 1-11 

distribution of, 66 (ill.), 67- 
69, 68 (ill.) 

for school printshop, 144 

height of, 4 

names of, 6 

parts of, 3 (ill.) 

samples of, 9 

sizes of, 6 

to find the number of ems 
in, 70 

to find number of pounds 
required for a page, 72 

width of, 4 

wood, 6 
Type faces, 8 

considerations in selecting, 
10 

for school printshop, 144 
Typography, essentials of, 93 

Underlaying, 61 

Uniformity, essential to good 

appearance of page, 28 
Upper case, arrangement of, 

20 (ill.), 21 

Waste, allowance for, in trim- 
ming, 57 

Wide-leaded type, 29 

Woodcut, 108, 109 (ill.), 110 
(ill.) 

how to print, 112 
woods used for, 108 

Wood type, 6 

Words, number to square inch 
of type, 72 

Yankee job case, 17, 18 (ill.) 

Zinc etching, method of mak- 
ing, 112, 141 (ill.), 116 (ill.) 



V" 



